Winter of 1888
by Skittifink Dagger
Summary: 1888, London.  Jack the Ripper stalks the streets. Such a murderer is threat enough to the Masquerade that kindred cannot ignore this and join the hunt.   Game we played ages ago - I turned it into a script from the original recordings


**The**

**Whitechapel**

**Murders**

**PRELUDE**

**Jack London at his typewriter**

"August 4. 1888. London.

The East End is a vast city...

A shocking place...

An evil plexus of slums,

That hide human creeping things;

Where filthy men and women

Live on Gin!

Where collars and clean shirts

are decencies unknown,

where every citizen wears a black eye

and none ever combs his hair."

**AUGUST 6**

**SCENE I  
The Museum  
**

**NARRATION ****Rave Danger:** I awake. All is dark. There is no sound. I am horizontally comfortable. The padding of my small enclosure is familiar; the low ceiling, the lid of eyes, the walls of soft silk - my bed.  
I stretch out my hand and raise the lid of my coffin. It is a beautiful coffin; a masterpiece. Rich mahogany with ivory mouldings, a snake with rubies for eyes along its length, a wolf's head at the left, raven's head at the right. I look into the gloom and see the gigantic jackal face of Anubis, god of the Dead, and the peering ibis face of Thoth, god of Knowledge, staring down at me. They do not move. They are statues only.  
There are other things here, all seemingly collected from ancient Egypt. A boat of reeds, urns, papyrus.

This is not where I thought I would be. Where am I?

I lower the lid of my coffin and peer into it, searching. contacting. Ravenos... my crow... my eyes.

**Rave:** Speak to me, Ravenos.  
**Ravenos:** The plan has gone astray. The Alchemist abode has been utterly ruined! AAAAaaark! They have taken you to this big building... I don't know what it is.  
**Rave:** It looks as though I am in a museum of some kind. Everything seems to be closed. It is dusk is it not?  
**Ravenos:** Yes it is, master.  
**Rave****:** Meet me outside.

**NARRATION Rave Danger: **I get out of my bed. Why have I been placed here? My coffin contanins both the symbol of the cross and ankh of infinity, it is not of Egypt. Where is my magic box? It is my livelihood.  
I hear the jangle of keys opening a lock with difficulty and I become one with the shadows. A door opens. Footsteps. Wary footsteps, as if picking a path through the chaos. Lantern light. Who is this lad, this lad with the lantern? Would he be, is he...? It is Tom, son of the alchemist and my mortal contact in London.

I reveal myself from the shadows.

**Tom:** Ahh shite! I hate it when you do that!  
**Rave****:** Be not afraid. I have returned for my resolve in London. How have we come to be in this place?  
**Tom**: They? ah... the ferry, they dropped the blasted box... and took the coffin. It got mixed up with another shipment.  
**Rave****:** Where is the box?  
**Tom:** I have it, I have it. In the cart. Outside. (_gasping at the statues_) Let's get outta here. Gives me the creeps, it does.

**NARRATION Rave Danger:** Upon exiting the museum I couldn't help but take a few seconds dwelling in memories of my last visit here. London, and Whitechapel, still a slum with a huge rift between the haves and have-nots. Tom leads me to a cart with my box on the back.

**Rave****:** What of the planned entertainment for tonight? Is everything still in order?  
**Tom:** Oh, yes. I put up all yer posters. You're expected at the playing houses near the docks.  
**Rave****:** Then let us make haste. Take me to the playing houses!

_Horse hooves on cobblestones_

**SCENE II  
The Docks  
ACT I **

**NARRATION Sally Gallagher: **It has been another hard day at the Salvation Army base. Everyone begins to leave. I give them God's blessings. I walk out into the streets of Whitechapel and walk south. The cold wind is almost refreshing as I walk down the street. It stinks of burning coal and of the slaughteryards, but is still better than the stuffy interior of the workhouse. The people pass me in the street, all heading for the docks. Poor and wealthy alike. I smile. It is about time people mixed classes. The rift between them seems to vanish somewhat this night.

**Sally:** What is money anyway? In the face of adversity strength of character is important, whether they be wealthy or not.  
**Badger:** I couldn't agree more! However, I deemed you one to collect such money.  
**Sal****ly****:** How do you mean, sir?  
**Badger:** Well, I mean, as a Salvation Army officer, do you not collect money for the distribution to the poor?  
**Sal****ly****:** Sir, we take what is given, the Lord truly provides, and those who are generous to their fellow man, upon them I wish a thousand blessings.

**Badger:** I see. Well here, a donation for your cause. (h_ands her a coin_) Well, good evening to you. I do hope you enjoy the festivities this evening.  
**Sal****ly****:** Good evening sir.

**ACT I****I**

**NARRATION Pearly Poll:** There's festive music inna air and 'mongst the sound of violin and laughter swelled wiv spirits, comes the noises of the royal cannon salute.  
The ships in port are decked wiv flags as the military band strikes up its chorus. Onna one side of the docks the grand fairy ballet is all underway, an' there's posters at the playin' 'ouses. One old poster featurin' a Mr Nemo anna new one called the Amazing Rave Danger all overshadowed by the newest show - Dr. Jekyll An' Mr 'yde. Of course it's all sold out, that one. There's a freak show that sez there's a elephant man inside, but I'm not gonna spend my pennies on that. I don't like freaks an' there's freaks aplenty in Whitechapel wivout me payin' to see 'em. To the west are the 'orse and cattle shows and all about are the beer tents and bazaars that display strange objects from all froo-out the empire. And that costume shop is doin' a roarin' trade - lendin' out all kinds of fancy dresses.  
And the cause of all these festivities?  
Well, it's the Duke of Edinburgh's Fortyforf birfday, innit?

**Martha:** Pearly! Pearly Poll! 'Ow are ya luv? 'Ow 'ave you been?  
**Pearly****:** Oh, Marfa, as the sun rises, I've been well.  
**Martha: **Out for a bit of sport are we? 'Ow much you lookin' for? Thrupney uprights? I'll get my lodgin's this night! 'Ow 'bout you?  
**Pearly****:** I got my lodgin's right 'ere.  
**Martha:** You 'ave? You 'aven't! Show us then.  
**Pearly****:** Piss orf... too many people 'ere. I'm orf for a penn'orths a gin, I am. Ooh look! Is that Inspector Abberline 'avin' a pint at the beer tents?  
**Martha:** I fink it is. Oooh look! Soldiers! Right orf the boat an' all. We're in luck! 'Oo do you fancy? Ooh? I like 'im. What 'bout 'im? Ooh? 'e's not bad either. S'cuse us.

EXIT Martha

**Pearly:** Enjoyin' the festivities, eh, Inspector?  
**Abberline:** Relaxing enough, I suppose.

**Pearly: **Cor blimey, issat Jack London from the papers?

**Jack: **Evening ma'am. Jack London... from the Star.**  
Pearly: **Oooh, Jack London! Name's Pearly, Pearly Poll. Pleased to meet you.**  
Jack: **So, ah? what line of work are you in? **  
Pearly: **Urm? ah... the people industry.

**Jack:** Oh! I see. Are you on duty, inspector, or just relaxing?  
**Abberline:** 'Bout as much as you can relax in this bloody hell-hole.  
**Jack:** Uh? Can I get you a drink, perhaps?  
**Poll:** Ooh? I'll 'ave a gin! A small one, mind.

**Abberline:** Just an ale, if you're offering.  
**Barkeep:** Ale anna penn'orths a gin comin' up.

**NARRATION Pearly Poll:** I downs the shot and shudders. I notices this young woman come by dressed in a dark Salvation Army uniform and a tin cup.

**Sal****ly****:** Hello, sir. Do I suspect you are a reporter?  
**Jack:** Yes, ma'am. Jack London from the Star.

**Sally:** Pleased to meet you, Mr London. I believe I have read some of your material. You wrote an article on the poverty in Whitechapel recently, is that correct?

**Jack: **Yes miss, it is, it is not something normally published but I felt that it perhaps would open the eyes of the upperclass as to just how much misery the 'lower classes' suffer, especially in the East End.  
**Sal****ly****:** And God bless you for it.  
**Jack:** I see you are with the Salvation Army.  
**Sal****ly****:** Yes, yes, I am. Stationed in Whitechapel, of course. And your name?  
**Poll:**_(__coldly)_ Pearly Poll, ma'am.  
**Sal****ly****:** Evening, Miss Poll.  
**Jack:** Please, let me be so kind as to introduce you to Inspector Abberline of Scotland Yard.  
**Sally**: Inspector.  
**Abberline:** Pleased to meet you. How about we head off to see what's up at the playing houses.  
**Jack:** Excellent idea, Inspector!

**NARRATION Pearly Poll:** It was then that the Salvation Army Band starts it's brass chorus as fireworks essplode above the docks all in reds and greens and whites. And then a strange fing 'appened. We all saw it, we did. There was this one old geezer inna crowd inna 'at and cloak all started rollin' about onna ground like he was in pain or sumfin' and then, Cor blimey as if 'e didn't just dissapear! Jus' like that! Lot's of people seen it, but the funny fing was that no one said anyfing abou' it. They just kept on doin' what they was doin' an' it was if it never 'appened. Even Jack London just furrowed 'is brow and finished 'is ale. The only one that seemed to still look at the place where 'ed gawn was that Inspector.

**ACT III**

**NARRATION Rave Danger: **Damn those blasted fireworks! Lighting up the sky like that and causing myself such discomfort. Any brighter and I may have been incinerated on the spot! The damnable black powder should have stayed in China. But what's this? A strange cacophony like a tiny orchestra.Such things that have been invented in this time and age! Walking toward the sound, I espied a magnificent machine. All pipes and flutes and stringed instuments playing as if under some sort of ensorcelment, but no! A clever device of steam and gears, all on a wheeled cart. As a master of illusions, I was not myself fooled by such a contraption, though I did admire the genius of such mechanical design. A calliope they called it. What a perfect place to begin my show for the evening!

**Rave****:** Step up, Step up, Come one, come all! Witness the amazing hypnotist, ventriloquist and fortune teller! The Amazing Rave Danger! May I have a volunteer!  
**Ravenos:** Him! Him, over there!

_Crowd laughs._

**NARRATION Rave Danger: **It did not escape my attention that a certain woman with blonde curled hair lifted the pocket of a well dressed gentleman amongst the rapidly growing audience, but I cared not. I turned my attention to the man who had been elected volunteer... appraising him in ways he could not have foretold. I sensed something about him. A certain power I could not place my finger on.

**Rave:** And what, pray tell would be your name, good sir?  
**Jack:** Jack, Jack London.

_Crowd applauds. _

**Rave:** Are you interested in having your fortune told?  
**Jack:** Well...  
**Rave****:** I shall consult the cards! Please choose your card, Jack and choose carefully. The Tax Collector! I see in your future that you will receive a visitation whereupon you must pay your dues. Consider well what prices must be paid and what you may gain in return.  
**Jack:** Most auspicious.  
**Rave****:** Thank you sir, you may step down. And now - for a little magic! In an instant I shall dissappear!

_Crowd gasps._

**Martha:** Oooh Look! he's gawn!  
**Abberline:** What? What do you mean? He's still there.  
**Rave****:** And now I re-appear!

C_rowd applauds_

**Martha:** Oooh look! 'es back!

**Abberline:** But...  
**Rave****:** Another volunteer! You, young lady please... come to me.  
**Pearly****:** Ooh, me?... well, alrigh'.  
**Rave****:** I shall read your past. This evening you had a drink did you not?  
**Pearly****:** Why, yes, yes I did.

_Crowd chortles. _

**Rave****:** This drink was a gin, was it not?  
**Pearly**: Well, Yes, yes it was.  
**Martha**: Aw, come on! you coulda smelled it! Haar!

_Crowd laughs._

**Rave****:** You met another young lady, someone you would not normally meet. She wore a crucifix, did she not?  
**Pearly****:** Um.. I fink so. Ooh yeah, that Lieutenant Sally from the Salvation Army!  
**Rave****:** You must beware this woman. You shall meet her again. Your fortune has been told! Another volunteer! This young gentleman from the crowd! Your name sir?  
**John Thompson:** John Thompson, sir.  
**Rave****:** Sleep!

_Crowd gasps. Thompson's head goes slack and he begins to snore lightly._

**Rave****:** Now that our friend Mr Thompson dozes, would anybody like to choose a task for him as he awakes? How about our Jack London?  
**Jack: **Perhaps he could do a jig?  
**Rave:** Splendid! When you awake John Thompson, upon hearing the word "thirteen", you shall dance a jig until such time as you hear the word "thirteen" again. Awake!  
**John Thompson:** So when are you going to hypnotise me then?  
**Martha: **When Big Ben strikes fir'een! Haar haa!

_Crowd laughs as Thompson does a jig._

**John Thompson:** Ho! What the devil's going on here!  
**Rave****:** When Big Ben strikes thirteen, indeed. Thank you Mister Thompson. Now if you will assist me with my final trick. If you please, step this way.  
**Ravenos: **Aaar! Put him in the box! Put him in the box!

_Crowd laughs._

**Rave****:** Please step into the trunk, sir. Now I shut the door to the box. I turn the box around and as you all may see, there are no hidden catches or ways to escape! Then, as I open the box... you shall observe that Mr Thompson has entirely... dissappeared!

_Crowd gasps._

**Abberline:** What the hell? What do you mean?  
**Rave:** Observe for yourself! Jack London. If you would be so kind as to search the trunk!

_Jack pokes his cane around inside, carefully avoiding Thompson._

**Jack:** Incredible!  
**Abberline:** But.. but he's...  
**Rave****:** And that concludes the show for this evening! For all of you who enjoyed the show please come again and see the Amazing Rave Danger!

_Crowd applauds._

**Abberline:** Idiots.

EXIT Abberline

**ACT IV**

**Jack:** Well, I've seen some scams in my time, but that was quite convincing.  
**Sal****ly****:** It was all staged if you ask me. If you go behind the scene you may find a very well paid actor.  
**Pearly****:** But 'e did a free show. Where's the money comin' from?  
**Sal****ly****:** It must be the second and third shows that will be the sell-outs.  
**Pearly****:** Ooh, I dunno. It's not convinced me. E's evil, 'e is.  
**Martha:** It's right proper magic it is. You saw the box. It was empty. You all saw it. 'E put 'is cane innit an' all.  
**Sal****ly****: **There's no such thing as magic. It's just a trick.  
**Jack:** Now I think about it I agree with Sally. There must be some logical solution. A false wall in the box perhaps?  
**Pearly****:** But 'e turned it all a-ways 'round!  
**Martha****:** Well I'll tell ya sumfin'. Word on the street 'as been that there's sumfin' strange about that magician. Sumfin' evil. I 'eard abou' strange things 'appenin last time 'e was 'ere... 'bout fifty year ago...  
**Pearly****:** Wha' Fifty years! 'E wern't that old!  
**Martha****:** Well I aint sayin' it's the same man. But similar tricks... and there's that crow.  
**Jack:** Fifty years eh? Well if something happened there will be records. Anyway! I must return home and begin my composition for the Star. It has been a most entertaining evening... Ladies. (_tips his trilby_)  
**All:** Goodnight, Mr London.

EXIT Jack

**Martha:** Oooh... look! Soldiers.. I'm orf to do a bit of business.  
**Pearly****:** Umm... Sal... I got a favour to ask.  
**Sal****ly****:** Yes?  
**Pearly****:** I need you to look after sumfin' for me. I know I'd only spend it on gin... and... well...  
**Sal****ly****:** I swear I will keep it safe for you.  
**Pearly****:** Fanks, Sal. Well, I'll be seein' ya.  
**Sal****ly****:** In church perhaps?  
**Pearly****:** Uh, per'aps, yeah. Goodnight, Sal.  
**Sal****ly****:** Goodnight, Pearly Poll.

EXIT Sally 

**Martha**: I 'ave us a couple of soldiers for the night Pearly, an' I've picked mine. Time to make some pennies, luv.  
**Pearly****:** Ha ha. I've made some pretty pennies tonight already. Two shillings.  
**Martha:** Two shillings! You 'ave not.  
**Pearly****:** I 'ave. I got it off the Inspector.  
**Martha:** 'E'd never give you two shillings. E'd put you away first.  
**Pearly****:** 'E doesn't know I got it off 'im though does 'e?  
**Martha:** You wha'... Haar Haar! Ooh Polly!  
**Pearly****:** I gave it to that Sally for safekeeps.  
**Martha:** You wha'! You gave it away! You silly cow! Wha'dya do tha' for? You couldda least bought me a gin! Gawdsakes gel...  
**Pearly****:** Look, I gots to get out of 'ere and 'ow do you finks I will uvverwise? I can't hold two shillin's on me, now can I?  
**Martha:** Shurrrup! Do you want all the muggers in the city to 'ear ya! Aaah well, I 'spose it's too late now... come on there's money to be earned. 'E's yours on the left, Pearly. 'Ave fun now, Haar.

EXIT Martha and Soldier 

**Pearly****:** 'Ullo then, soldier. Don't mind leavin' your friend for a bit of a tumble then, eh?  
**Soldier:** Oh he isn't my friend as such. I expect he is off Her Majesty's ship. I don't even really know the fellow.  
**Pearly****:** Well, what are you after then?  
**Soldier:** I haven't a room, only the barracks, but I do have ten pence.  
**Pearly****:** Ooh well, for ten pence I could show you a night you'll never forget.

EXIT Pearly and Soldier

**SCENE III****  
The Streets**

**NARRATION Sally Gallagher: **As I walked home I could not help but feel a little nervous, especially considering the funds I carried. Had someone overheard Pearly? Was I too slow to hide the money in my bible? And to walk through such a place thereafter. What a fool I was! I hear footsteps behind me... many footsteps, it seems that I did not go unnoticed after all. Who are these ruffians? The Nichols boys perhaps? I grasp the revolver in my pocket and dare not breathe as another man steps out from an alley.

**Michael Kidney****:** Evenin' miss. Couldn't 'elp but 'ear that you got quite a sizeable amount of money on you...  
**Sally: **Sir, I have no money. Now kindly let me pass.  
**Michael Kidney****:** I say you do ... 'idden away in that there bible of yours.  
**Ruffian2&3:** Yeah. _(snickering)_  
**Sally:** Just.. leave me alone.  
**Ruffian****2****:** Can't do that, sorry. What're you gonna do with all that money anyway?  
**Ruffian****3****:** She's one of those 'women of God' people. Maybe she'll donate it. 

_All ruffians laugh_

**Kidney****:** 'Ow about a donation, then. A donation to us, the poor saps of Whitechapel? Let's get 'er, lads!  
**Sally:**Get away from me!  
**Ruffian3:** Hey! She's got a gun!  
**Ruffian2:** She ain't no woman of God!  
**Kidney****:** Or is she now? What are you gunna do with that there derringer now, lass? Thou shalt not kill, remember?  
**Sally:** I have never fired this gun at a person before, but I will not hesitate to defend myself! Now kindly - leave me alone!  
**Ruffian2:** I ain't gonna get shot by her...  
**Ruffian3:** Me neither. Come on Kidney, Let's go...  
**Kidney****:** Woman of God... ha! You aint seen the last of us!

EXIT Ruffians

**Sally:** _(makes the sign of the cross with her gun in hand)_ Lord Protect me ... and if I had bullets he would protect me even more... _(sigh)_

**SCENE ****IV ****  
The Museum**** Basement**

**NARRATION Rave Danger:** Returning to the museum I open the magic box containing John Thompson. Of course the box is not magic at all, but rather a tool of transport. The magic is in the hypnosis of the crowd, and few can resist my powers.

**Rave:** Come. Sit. Awake!  
**Thompson:** Oh! Where am I?  
**Rave****:** You are in my abode, good sir. Be at ease. Your performance was quite a success.  
**Thompson:** It was?  
**Rave****:** Oh yes. Fancy some whiskey?  
**Thompson:** Don't mind if I do, sir.  
**Rave****:** So, Mr Thompson. How do you earn your living in this marvelous city?  
**Thompson:** I'm a cobbler sir. I make boots and shoes of all sorts. The old fashioned way, by hand. Dunno how long I'll last though, with all that steam powered business everyone's so worked up about.  
**Rave****:** It is certain that none of us know how long we shall last, Mr Thompson. Some more than others, that is to be sure. The world is indeed changing as it has ever done. Who indeed knows how long they shall last?

**NARRATION Rave Danger:** I position myself behind the unfortunate Mr Thompson and as the blood lust grasps me in its clutches, I only see the pulsing of blood in the veins and arteries of his neck. The alluring smell of the salted liquid of life calls to me and I do not resist, but rather sink my fangs into the hapless man. The blood carries the tang of whiskey and I drain his body of every last drop, savouring his struggles and his pitiful cries, absorbing his knowledge and his very life into my being and essence.

I drop the body to the ground, and revel in the satiation and vitality that ressurects me and sustains my everlasting existence. He is but food.

I need something more, though. For the time of my rejuvenation is at hand. Once every hundred years I must totally drain a mortal, not only of their blood, but also of their personality and their very soul, lest I should crumble to ancient dust. On this night have I met the one that may be able to fulfil this task.

I gather up the remains of John Thompson and search for a place to hide the body. I notice an Egyptian sarcophagus - I pry off the lid to reveal the dried husk of an ancient embalmed mummy. I quickly stuff the lifeless John Thompson into the sarcophagus and close the lid.

**Rave****:** Who knows how long they shall last, indeed.

**SCENE ****V****  
Darkness**

**NARRATION Jack London: **Darkness. I dream. I hear footsteps down a darkened hall, the nattering of some old hag. I seem to recognise the voice. I see the glint of a wide, curved blade even though there is no light. The blade swings down, hastily, clumsily, stabbing once, twice, thrice into the chest. The hag tries to scream, but a fist knocks her to the ground. The bloodied blade flashes again and again, stabbing, slashing frantically. Blood flies about in the darkness. Spatters on the wall, seeps into the floor. Another dozen stabs, neck, body, head! Everything is covered with blood. Blood, blood, everywhere is blood. I awake. A cold and clammy sweat clinging to my shivering skin.

**AUGUST 7**

**SCENE I**

**Water Fountain outside Ten Bells**

**NARRATION Sally Gallagher:** Another grey morning in Whitechapel. Pearly Poll and her friends are cleaning themselves up after the night's events. One has a fragment of a mirror the other half a comb. Some of these items are passed around and there is general chatter about the soldiers and gossip of other unfortunates in the area that were or were not lucky with their clients last evening.

**Pearly: **Where's Marfa? You seen 'er, Long Liz?

**Liz: **No I ain't.

**Pearly:** Oooh, there's that Salvo Sal again! Hey! Over 'ere!

**Sally:** Good morning, Pearly, _(to the others)_ 'Morning.

**Others: **_(mumbling)_ 'mornin'

**Pearly:** _(takes Sal aside from the group)_ I see you got 'ome alrigh' last night - I was really worried 'bout me m- err, you. I was worried 'bout you.

**Sally:** I got home without incident - thank you for your concern.

**Pearly:** Well, that's good - cos I really need to get some of that money off ya - girl's gotta eat and all that.

**Sally:** And drink?

**Pearly:** Well, yeah... that too... Oh, come on Sal! I'm only gonna have the one!

**Sally:** You asked me to save the money for you so that you would not spend it on gin.

**Pearly:** Weeeell... yeah... but...

**Sally:** Then I shall make you a deal - I'll keep your money for you. But I'll give you a shilling _(slips Pearly the money)._ I want you to promise me that you will get yourself a decent meal - not just gin - sound good to you?

**Pearly:** There's not many good people out there ready spare a bit of dosh for a poor gel like me - God bless ya, Sal.

**Sally:** Take care, Pearly.

EXIT SALLY

**Barkeep:** _(Comes out of Ten Bells with his large brass bell_) Open for business - come get yer food and drinks!

**Pearly** : Oooh, les' go in!

**Liz:** Right you are, sister!

**SCENE II **

**George Chapman - Barber Surgeon**

**NARRATION Jack London:** Early this morning I received a note from the police that they required my camera as there had been an incident near the docks. I was quick to get dressed. With camera and tripod in hand, I made my way to George Yard Buildings.

Still feeling tired from the previous night's events and that horrendous dream, I spy the red and white pole and decide to stop at my local barber for a bit of freshening up.

_Jingle of bells as the door opens_

**Chapman:** Good-day to you Mr London, please have a seat!

**Jack:** Thank you, George.

**Chapman:** The usual shave and trim sir?

**Jack:** Yes, please.

**Chapman:** Very well. How are you today, my good sir?

**Jack:** Very well, thank you. Yourself?

**Chapman:** Oh well, well indeed. I see you have your camera with you - hunting for stories today, Mr London?

**Jack:** In fact, my good man, I'm off to report on a possible murder.

**Chapman:** A murder... hmmm...

**Jack:** Yes, down at George Yard Buildings.

**Chapman: **How horrid.

**Jack:** Yes, terrible...

sound of the razor scraping on skin

**Jack:** And how is your dear wife?

**Chapman:** Oh the poor woman is still ill ...

**Jack:** Again? Just like the other two?

_Chapman flinches and the razor cuts into Jack's cheek._

**Jack:** Dammit man! You've cut me!

**Chapman:** Oh my apologies sir! A thousand apologies - here allow me ..

_Dabs the wound with a clean cloth as Jack hisses in pain_

**Jack:** This is very unlike you, George.

**Chapman:** Yes. I- I seem to be a bit distracted today, I assure you there shall be no charge.

**Jack:** I should think not! I must be off or I'll be late. Good day!

**Chapman:** Good day, sir...

EXIT Jack

_bell tingles and door closes_

**Champan:** Do come again.

**SCENE III  
George Yard Buildings**

**NARRATION Inspector Abberline:** Godley and I arrive outside a building at the docks. As soon as we get into the house the stench of the corpse hit us in the face. We both get out our handkerchiefs and cover our mouths and noses. I waste no time to take out my notepad and pencil and begin to jot down the details.

_Buzzing of flies_

**Abberline:** August the 7th, at, _(takes out his clock),_ 6.23 am. Investigating possible murder at George Yard Buildings.

**Godley:** Blimey, what a smell.

**Abberline:** I think I can cross out the word 'possible'...

**Godley:** You got that right, sir.

_Abberline slowly reaches out and his fingers brush the hand of the corpse - he flinches, but then grips the wrist and checks for a pulse._

**Abberline: **No pulse.She's dead alright. Not surprising, Godley, as there are about seven quarts of blood soaked into the immediate area; floor, walls... everywhere, originating from the body.

**Godley: **There seems to be many wounds...

**Abberline**: How many, Godley?

**Godley:** I don't rightly know, sir. One, two, three, four _(begins to count)_ twenty five, twenty six... thirty... oh Lord... thirty six, thirty seven, thirty eight, thirty nine - she's been stabbed thirty nine times, sir! What kind of maniac would stab a woman thirty nine times?

**Abberline:** I don't know, Godley. Let's try to find out what he stabbed her with.

**Godley:** How do you mean, sir?

**Abberline: **Take the pencil._(hands Godley a pencil)_ Depth and width, Godley. Thirty-nine, eh? Thirty-nine is three times thirteen. hrrrmm...

**Godley:** It's about two inches wide sir ... and about, err..

_Godley pushes the pencil into the wound until the flesh of the corpse reaches his fingers._

**Godley:** Oh, My Lord ...

_He pushes on and in into the wound until his fingers are well inside the corpse... He then pulls the bloodied pencil out. _

**Godley: **About this deep, Inspector Abberline...

_sound of Godley fainting and hitting the floor_

**Abberline:** Godley?

ENTER Jack London - camera in hand

**Jack:** I hear there's been a murder... Inspector Abberline!

**Abberline:** Mr Jack London, from the Star.

**Jack:** Oh my! So much blood!

**Abberline:** She appears to have been stabbed thirty nine times.

_Jack drops the camera - only catching it at the last moment by the tripod._

**Jack:** Oh my! Oh my... oh my oh my oh my... and what happened to him?

**Abberline:** This is Sergeant Godley. He appears to have fainted.

**Jack:** What are we dealing with here?

**Abberline:** According to the pattern of blood on the wall it would seem that the first three strikes to the body entered through the chest producing a blood spray ... _(takes the bloodied pencil from Godley's fingers - indicating)_ Here, here and here.

**Jack:** Stabbed you say? Thirty nine times? With a knife?

**Abberline:** I believe so. Approximately.. _(measures the pencil and adds Godley's fingers)_ approximately thirteen inches long.

**Jack:** I see, something like this, perhaps?

_(Jack draws a kopesh dagger on his own pad in pencil and hands the paper to Abberline)_

**Abberline:** Excellent. Yes, this drawing may help - thank you. The other sprays being not so forceful in pressure are what you see here. Soon after, it would seem that the body expired, but the killer kept stabbing, like so, which is what left these marks here... At his time it would be impossible to determine whether the killer was left or right handed.

_(notices Jack staring as he mimics the motion of the knife with his bloodied pencil)_

**Abberline:** Get up now, Godley! Godley!

_Godley wakes up in a pool of blood_

**Abberline:** Nice of you to join us Godley. This is Mr Jack London of the Star.

**Godley:** A pleasure sir... ah... _(goes to shake hands and then realizes that his hand is covered in blood - he puts his hand in his pocket.)_

**Jack:** Have you any clues as to her identity?

**Abberline:** By the manner of her dress she appears to be an unfortunate.

Godley, would you be so kind as to hold up the corpse against the wall so that Mr London may take a photograph for identification purposes? Not there, man - over here, in the light.

_Godley does as he is told (wincing all the way)_

_Jack London takes a photo of the corpse with shaking hands._

_Godley drops the corpse after he hears the click of the camera._

**Abberline:** Godley. Help the undertakers will you? Mr London?

**Jack:** That should do. I'll have the photograph printed in the Star by tomorrow.

**Abberline:** Thank you, Mr London. I do hope to solve this as quickly as possible.

**Jack: **Indeed. Good day, Inspector.

EXIT Jack

_Abberline removes the handkerchief from his nose and mouth, looks at the bloodied pencil and wipes the it with the handkercheif. He drops the now bloodied handkerchief and leaves, pocketing the pencil._

EXIT Abberline

**SCENE IV**

**The Museum**

**NARRATION Rave Danger:** I awake slightly disoriented at first as my coffin appears to be vertical. I extend my psychic senses to see if there is anyone about before I slowly open the coffin lid and peer out. Sure enough - my coffin is upright and in a glass display cabinet. I manage to maneuver myself out of the coffin and inspect the glass. There are hinges on the outside and a small lock at the back. But there is no way to open the cabinet from the inside.

I grow impatient and resort to breaking the glass - cutting my arm in doing so. The sound of the smashing glass appears to have attracted the attention of the night watchman. The glow of his candle comes closer and closer - I remain where I am. He is no match for my powers.

**Watchman:** Who are you? What are you doing in here?

**Rave:** I am meant to be here - all is well.

**Watchman:** I dunno 'bout this - I ain't never seen you here before...

**Rave:** Yes - I am meant to be here – it is all in order. I am acquainted with the museum director.

**Watchman: **Are you sir? Well, my apologies sir. It's just my job you see to keep watch here at night. Can't have people sneaking about in here you know.

**Rave:** No, we can't have that at all.

**Watchman:** That's right - and how can I help you this evening sir?

**Rave:** It seems I have misplaced my keys and I tell you I simply do not have the time to search for them. May I borrow yours until my keys are found?

**Watchman:** Not a problem sir! Here... and this one here you might find handy - its a master key to the exhibits. Oh no! What's happened here_,_ with the broken glass?

**Rave:** I do not know, but in any case it must be cleaned up before visitors arrive tomorrow morning!

**Watchman:** 's right sir - can't have broken glass lying around! I'll clean it up right away. And if I find your keys I'll leave them at the front desk for you.

**Rave:** Very well. You have been most helpful, sir.

EXIT Night Watchman

**Ravenos:** Noice! Very noice, boss. Aark!

**Rave:** Thank you, Ravenos. The minds of the mortals are like open books to me, their pages open and waiting for me to write upon them my every whim and desire. Now. To find Jack London.

**SCENE V**

**Ten Bells**

**NARRATION Inspector Abberline:** Ten Bells is teeming with the dregs of the humanity that infests Whitechapel. Men who were once gentlemen whose clothes show the signs of wear and grime sit and drink amongst the dock workers, the slaughter yard workers. Unshaven, unwashed and of uncouth language, they spit and guffaw, still attired in their stinking clothes. A man at the bar wears a stained leather apron whilst unfortunates make crude jokes about many a thing that I am fortunate enough not to hear over the noise of the crowd. Godley and I order a pint of ale at the bar and I light up my pipe with a match, more to deter the stench of the place than to enjoy smoking the damned thing.

**Abberline:** Barkeep! Two pints of bitters! _(looks at his pocket watch)_

**Barkeep:** Comin' up!

**Pearly: **Oooh, look! 's the Inspecta!

**Liz: **I 'ear 'es from Scotland Yard.

**Pearly: **Oi! Oi! Inspecta! 'Allo! Over 'ere - come take a seat wiv us!

**Abberline:** Evening, Miss Pearly.

**Both:** Evenin' guv'na.

**Pearly:** 'Ere inspecta 'ow 'bout a gin for a firsty lady?

_They burst out laughing_

_Door swings open with a bell._

ENTER Jack

**Jack:** Ah, Inspector Abberline! The photograph and story is currently being printed in The Star and will be on the streets tomorrow.

**Abberline:** Good, let's see what that leads us to.

**Jack:** Barkeep, a pint of bitters, if you would be so kind.

_Jack gets his pint and they move to a table._

**Abberline:** That cut on your cheek hasn't healed since this morning.

**Jack:** Yes. Damn that barber, George Chapman! Usually he is so careful, but this morning he seemed very distracted. I tell you, the man nearly cut my ear off!

**Abberline:** Is that so? George Chapman you say? The barber surgeon. A man with many sharp skills.

**Godley:** What are you thinking, Inspector?

**Abberline:** Have you ever seen an implement used by Chapman that would fit the earlier inscribed illustration?

**Jack:** Uh.. well, there are the surgeons tools, but I have only visited for the purpose of shaving and for that he uses a razor.

**Abberline:** I see. Right handed?

**Jack:** Why yes! Yes he is!

**Abberline:** Hmm, interesting.

_Abberline makes a note of this in his notebook. Godley sips his beer._

**Sally:** Good evening, sirs - a donation to the poor perhaps?

**Jack:** Certainly. I hope it helps.

_Coins dropping into a tin cup_

**Sally:** Thank you, Mr London - very generous of you. Donations, sir ? Donations for the Salvation Army, sir?

**Pizer:** Piss orf!

**Sally:** Very well. No need to get upset. Donations! Donations for the Salvation Army!

_The door opens with a bell ring_

ENTER Rave Danger

**Rave:** It is I! The Amazing Rave Danger!

**Pearly:** Oooh! 's that 'ipnotis' from last night!

_(steals Pizer's wallet as everyones attention is on Rave Danger's dramatic entry)_

**Rave:** Indeed it is I, young lady. Barkeep! A beverage for the ladies!

**Barkeep:** Coming up sir!

**Liz:** Oooooh! A beverage! Haar haar! I'll 'ave wunna 'em!

_Rave moves next to Pizer._

_Pearly has emptied the wallet and slipped it back into Pizer's pocket._

**Pizer:** I'll have another as well! _(reaches into his pocket and finds that his wallet is empty)._ Oi! You!

**Rave:** Pardon?

**Pizer:** You blasted thief you!

**Rave:** Are you addressing me, sir?

**Pizer:** 'S right - I'm bloody addressing you - like 'bout my shillin' like what I 'ad 'ere a minute ago!

**Rave: **I have no idea what you are talking about.

**Pizer:** Then maybe my fist will make yer remember!

_The sound of swinging a punch, quick scuffling, a bang and Pizer slumping to the floor. Gasps from the crowd._

**Rave:** And thus the fate of a person that would attack the Master Illusionist!

_A few uncertain laughs from the crowd._

**Jack:** How did you manage that? You seemed to move faster than they eye could see! On minute you were in front of him, a split second later, behind him. It's no wonder he knocked himself out on that post.

**Rave:** A master magician never reveals his secrets, Mr London.

**Jack:** I see. I suppose then, that you would not care to explain how you made Mr Thompson disappear, either?

**Rave:** Quite. And now, Ladies and Gentlemen, Farewell and good evening to you one and all! _(swooping bow and leaves)_

_bell sounds as the door closes_

EXIT Rave Danger

**Abberline:** Get that man on the floor will you, Godley. We will have to take him down to the station until he sobers up.

_Godley attempts to drag the passed out Pizer into the street but then hauls him upright and shuffles off with him._

_The bell rings on the door_

EXIT Abberline and Godley with Pizer

**Sally:** Pearly Poll. Fancy seeing you here.

**Pearly:** 'Allo there, Sal!

**Sally:** And here I thought I could trust you, Pearly. I see that once again I was wrong. I hope that the gin is worth it for you. Good evening, and goodbye.

**Pearly:** Oi, Oi! No need for that! Oi, wait up! _(grabs her arm_) Look! Look here! I 'aven't spent it! I got me some of my own money and had a good meal like what you said do.

**Sally:** Perhaps I was too quick in my judgment, Pearly.

**Pearly:** 's right! We might be unfortunates - but we're not all feeves and pickpockets!

**Sally:** Is that right?

**Liz:** Yeah! 's right!

**Sally:** Well then, I shall take your word for it. Good evening. I have more work to do tonight.

**Pearly:** Alrigh'. You 'ave a good night then, luv!

**Barkeep:** _(rings a large bell above the bar)_ Last drinks, you lot!

_Most of the patrons leave to the sound of the bells on the door. The unfortunates stay - hoping to make a bit of money. As Badger leaves he pauses at Pearly Poll and tips his hat._

**Badger:** Good evening, ladies.

EXIT Badger

**AUGUST 8**

**SCENE I**

**The Water Fountain outside Ten Bells**

**Polly:** You 'ear 'bout that new Irish gel - one wiv the red 'air?

**Cathy:** Yeah, I 'ave, Polly - I 'eard she's quite a looker.

**Annie:** Put us all outta business, she will! Wiv 'er fancy frock and 'er pretty face and 'er pretty red 'air - 's all we bloody need!

**Pearly:** Ah, Liz you better go get yer teef fixed!

**Liz:** You know I can't 'ford that, Pearly! Better I just have 'em all pulled out - serve a different purpose, then! _(makes sucking noises)_

_They all laugh._

ENTER Mary Kelly

**Mary:** 'Allo girls!

**Annie:** You're that Kelly gel, aint 'cha?

**Mary:** 'S right Mary, Mary Kelly.

**Pearly:** Nice to meet ya luv. Oooh, aint you pretty.

**Annie:** But for how long? You're in Whitechapel now, girly - it don't take much to get a black eye or a broken tooth or have your face cut. Won't take you too long to end up like Cathy 'ere, round these parts.

**Cathy:** Oi! Watch it, you ol' cow!

**Annie:** Shurrup! 'Ere, Liz. Give us a bit a soap, will ya?

**Crowley:** MURDER! Read all about it! Terrible, grizzly murder in George Yard Buildings! Identity of the victim remains a mystery! Buy the Star - Get your paper! MUUUUURDER!

**Pearly:** What's this 'bout a murder, young Alistair? Oh my God!

**Polly:** What's wrong, Pearly?

**Pearly:** The photograph... it's Marfa!

**Annie:** You sure?

**Pearly:** Yeah - just look! Look! 'S Marfa, alrigh'!

**Crowley:** MURDER! Terrible murder in Whitechapel - Victim unknown!

**Pearly:** Oooh, she's all dead!

**Crowley:** Oi! You have to pay for that!

_They all let go of the paper._

**Crowley: **MURDER! MURDER! Read all about it! Terrible, grizzly murder in George Yard Buildings! Identity of the victim remains a mystery! Buy the Star - Get your paper! MUUUUURDER!

**Mary:** Someone should go to the police.

**Annie:** What for?

**Liz:** You 'eard - they dunno 'oo she is!

**Pearly:** But what good is it anyway? Look! She's all dead!

**Liz:** They might just be offerin' a reward to find out 'oo she is - I 'ear they do that sometimes!

**Polly: **They ain't gonna give the likes of us anyfin', Liz, 'cept a night in the lock up!

**Pearly:** All dead... Poor Marfa...

**Liz:** Might be worth it.

**Annie:** I aint doing it. 'ere Pearly, you recognised 'er. You go to the p'lice.

**Pearly:** What? Me?

**Liz:** Yeah - you go see if you can't get some reward money for the trouble.

**Pearly:** You fink?

**Liz:** Well, I seen you talkin' to that Inspecta fellow!

**Polly:** Not gonna make no difference, I tell ya!

**Pearly:** But it's a murder... and poor Marfa! Well, someone's gotta go. For Marfa's sake!

**Cathy:** 'S right, Pearly! We'll stay 'ere and keep earnin' while you go the coppers!

**Pearly:** Alrigh' then - I'll be off.

**SCENE II**

**The Police Station**

**Abberline:** So how does it work?

**Telephone man:** Well sir! You see when this here telephone here rings, you pick up this bit here and listen in that bit there and you can hear the person at the other end of this here cable. Then you speak into this bit here and they can hear you on the other end.

**Abberline:** Yes?

**Telephone man:** When you are done speaking, just put this bit here back there until you hear the click.

**Abberline:** What an odd invention.

**Telephone man:** This connects you to her Royal Majesty, Scotland Yard and a few other key members of our society, sir.

**Abberline:** I see. _(picks up handset then drops it again)_ So how do I get to who I wish to talk to?

**Telephone man:** Well sir, you just pick it up and someone will ask who it is you want to talk to and they will connect you. That's the operator.

**Abberline:** I see - like I did then?

**Telephone man:** That's right, sir.

**Abberline:** It'll never catch on.

**Telephone man:** You will get accustomed to it soon enough. Good day, Inspector.

**Abberline:** Hmmph. Hardly.

EXIT Telephone man

_Knock at the door_

ENTER Godley

**Godley:** Err, Inspector? There's an unfortunate by the name of Pearly Poll come to see you. She says she knows 'bout that photograph taken by that Jack London ... published in the Star.

**Abberline:** Well, send her in then.

ENTER Pearly Poll

**Pearly:** Oh, Inspecta! Inspecta! I 'ad to come see ya! I know 'oo that is inna papers today! She's been murdered!

**Godley:**'Ere miss, take a seat. Would you like some tea?

**Pearly:** I surely would good sir... can I 'ave two sugars?

**Godley:** Why, certainly miss.

**Pearly:** An' a couple of biscuits?

**Godley:** Ahh, right you are, Miss.

EXIT Godley

**Pearly:** Oh, there wouldn't be some sort a reward for me troubles by any chance, Inspecta?

**Abberline:** Well, let me think .. ah yes! I could arrange free accommodation at the Minero.

**Pearly:** Oooh, sounds right fancy that does!

**Abberline:** You may have seen it... anchored in the Thames, serving as prison ship, as our own prisons are quite full to bursting. I expect soon they will just send it off to a penal colony in Australia.

**Pearly:** Oh... _(disheartened) _

ENTER Godley with Pearly's tea.

**Godley:** Your tea, miss.

**Pearly:** Oooh, fank you, sir!

**Abberline:** You say you recognise the victim from the photograph in the Star?

**Pearly:** _(chewing on a biscuit) _I do sir - 's my friend Marfa! Oooh, when I 'eard she's been murdered and all, I ran all the way 'ere, Inspecta! I did! Ran all the way from Ten Bells!

**Abberline:** I see. Martha you say?

**Pearly:** 'S right Maaaarfa. Marfa Tabram. Oh, Inspetca, you know 'oo done it? Do ya?

**Abberline:** Hopefully with your help we can find out. When was the last time you saw Martha... alive?

**Pearly:** Oh, lemme fink - at the Duke's birfday celebrations, that'd be then.

**Abberline: **Who was the last person you saw her with?

**Pearly:** Umm... lessee... It was that soldier fella!

**Abberline:** A soldier you say? Can you describe him?

**Pearly:** Ahh... 's bout this high and I think 'e 'ad dark blonde 'air... and a mustache, yeah 's right. A blonde soldier!

**Abberline:** You remember anything else?

**Pearly:** Can't say I got a close a look at 'im, Inspecta.

**Abberline:** What kind of a uniform was he wearing?

**Pearly:** Blue, I fink ... and wiv them li'l white stripes 'ere and 'ere. An' 'e 'ad a white band in 'is cap.

**Godley:** Her Majesty's training ship, the Mercury, is still in dock sir.

**Abberline:** Yes - my thoughts exactly.

**Godley:** Shall I go round up a few suspects for you, sir?

**Abberline:** Yes, good thinking, man. Please wait here, Miss Pearly.

EXIT Godley

**SCENE III**

**The Streets**

**NARRATION Jack London:** A woman, now lying unidentified at the mortuary, was ferociously stabbed to death this morning, between two and four o'clock, on the landing of a stone staircase in George Yard Buildings, Whitechapel.

George Yard Buildings tenements are occupied by the poor, laboring class. A lodger going early to work found the body. Another lodger says the murder was not committed when he returned home about two o'clock. The woman was stabbed thirty nine times. No weapon was found near her and the murderer has left no trace. The victim is of middle age and height, has black hair and a large, round face and apparently belonged to the lowest class.

**Badger:** Sounds very ghastly, very ghastly indeed.

**Jack:** Why it is, my good sir, very ghastly. But I hope that with this photograph right here, the victim shall be identified quickly.

**Badger: **I do hope so, Mr London. I assume you took the photograph?

**Jack:** Yes, yes indeed I did, good sir. The very newest camera... manufactured by the Kodak company, the first, in fact.

**Badger:** I am glad you are using this new invention for such a purpose - in this way those unfortunates who meet their untimely fate can be identified more quickly by those who knew them.

**Jack:** Oh, yes. Much better than a sketch.

**Badger:** I do believe I saw you at Ten Bells the previous evening...

**Jack:** Yes, I was there...

**Badger:** Speaking with a certain Inspector Abberline?

**Jack:** Yes, about the photograph, this very photograph.

**Badger:** Hmm... just before that little incident.  
**Jack:** Yes, with that magician, from the docks, what was his name? Danger? Rave Danger?

**Badger:** Ah yes, the 'Amazing Rave Danger', as he introduced himself.

**Jack:** Yes, he seemed move faster than the eye. An interesting trick. I still fail to comprehend how exactly he made that man disappear that night. I prodded the box with my cane... strange.

**Badger:** Tricks and illusions may fool the mind easily, but they are no more than a flick of the wrist, a distracting hand or the wave of a handkerchief... like so.

_Badger reopens the cut on Jack's face with the deftest of moves and draws a spot of blood from it. He licks it from his nail._

**Jack:** Yes. Yes, indeed ... of course.  
**Badger:** I wish you a good night, Mr London.

EXIT Badger

**Jack:** Yes ... ahem! _(clears his throat)_ He must have known my name from the papers...

**NARRATION Jack London: **I continue on my way after this strange encounter, only to be met in my wayward meanderings by that magician, Rave Danger. Strange that he should be so far from the playing houses.

ENTER Rave Danger

**Rave:** Ah! A moment of your time sir? I seem to recall you were at a performance of mine... at the Duke's Birthday, was it not?

**Jack:** Yes, that's right - you made that man vanish - quite a trick, that.

**Rave:** Ah, thank you sir, and might I thank you for your aid in the performance.

**Ravenos:** Thank you! Thank you! Congratulations! Well done! Aaark Aaark!

**Jack:** Ha! Most clever of you!

**Ravenos:** Clever! Ha! Ha! Clever indeed! Aaark!

**Rave:** You must excuse my friend. He is quite blunt in his manner of speaking.

**Jack:** Marvellous trickery, that - a talking crow.

**Rave:** Yes indeed. A small demonstration of my powers of ventriloquism! Ha Ha!

**Jack: **Fascinating! I couldn't help but think...

**Rave:**Mr London, you're... you're bleeding. (_reaches out to London's face)_

**Jack: **Am I? Oh.. oh, so I am. That damned barber, George Chapman. This cut simply will not heal.

**Rave:** I... I..

**Jack:** Mr Danger?

**Rave:** I... must.. leave you now.

EXIT Rave Danger

**Jack: **But.. Mr Danger... Mr Danger?

**Ravenos:** Alas, he flies, and to me, the skies! And before your eyes, to avoid your demise, departs the one, Rave Danger! Aaark!

**SCENE IV**

**The Police Station**

**Godley:** Here we are sir, blonde soldiers stationed aboard the Mercury.

**Abberline:** Very good, Godley. Pearly, could you come over here and take a look at these men - see if you can recognise any of them as the man that you saw with Martha.

**Pearly: **_(chewing a biscuit)_ Alrigh'! Less 'ave a look.

**Abberline:** Turn around please, gentlemen.

**Pearly: **Um... lessee... umm. 'Im. That's 'im there.

**Abberline: **Very well. Godley, if you please.

**Godley:** This way sir, the rest of you are free to go.

**Soldier:** But... but I was aboard the ship...

**Abberline:** We will hear all about it later. Miss Poll, you are also free to go.

**Pearly:** That's it then?

**Abberline:** Please show her out, Godley.

**Pearly: **But... but...

**Godley:** This way, Miss.

EXIT Godley and Pearly Poll

**AUGUST 12**

**SCENE I**

**Ten Bells**

**NARRATION Jack London:** I started this auspicious evening off with another ale, and had agreed to meet Abberline down at the Ten Bells to discuss this awful event. I also noticed Pearly Poll and another unfortunate seated at a table, enjoying their gins, as usual. The bell on the door rings over the noise of the patrons as Abberline and Godley enter.

ENTER Abberline and Godley

**Jack:** Good evening, sirs.  
**Abberline:** Ah, Good evening Mr London, at least as good as it ever gets in Whitechapel.  
**Godley: **Mr London.Buy you a drink?**  
Jack:** Thank you, Sergeant Godley. Tell me, how goes the investigation?  
**Abberline:** Let me see what we can remember.  
**Jack:** Any news on the name of the unfortunate?  
**Abberline:** Ahh yes, currently residing down at the morgue. Miss Pearly Poll identified the victim as a one Martha Tabram.

**Jack:** Any leads on the killer?

**Godley:** Well, as it turns out, Miss Pearly seems to have seen a soldier with Tabram the night of the murder. We organised a line up, but the man she identified had an alibi on board Her Majesty's ship and several other soldiers reported seeing him that night as well.

**Jack:** Any leads on the weapon?

**Abberline**: It seems that the blade you described was actually a Kopesh dagger from India.

**Abberline:** So what do we have now? The Kopesh dagger. The killer could have picked that up off one of Her Majesty's ship. We get ships in from India quite a bit don't we?  
**Godley:** I remember seeing several of them daggers for sale at the market stalls the night of the Duke's birthday.  
**Abberline:** Hmmm ... Who else you think would know about these kinds of daggers then - or have access to this kind of weapon?

**Godley:** Anyone may have bought one and used it to kill Tabram. If only there was a way to find the stall holder we may have been able to question them about a soldier purchasing such a weapon that night.

**Jack:** But what if it wasn't a soldier?

**Abberline: **I don't take your meaning.

**Jack:** As you mentioned the festivities at the dock I recalled a certain store hiring costumes and uniforms, soldier uniforms at that. I seem to recall the store being named Abacus or the like.

**Godley:** Arr yes! Of course! I'd clean forgot about that. I'll take myself down there first thing in the morning. See what I may find out.

**Pearly:** Oh, looks like it's just you an' me tonight Liz. Get all the business tonight we will. Lucky for us. We oughta celebrate!

**Liz: **Right. You're payin'.

**Pearly:** Oh? Oi! Barkeep! Any chance of a few drinks for two luvly ladies 'ere?

**Barkeep:** Not a chance ma'am. If you can't pay, you can piss orf!

**Liz: **Well we don't got much since them Nichols boys come roughed us up. That Kidney, I seen him the other night, said he was gonna poke my eye out with a knife, 'e did!

**Pearly:** Oh you poor fing - that musta been 'orrible.

**Aberline:** Knife you say? What kind of knife?

**Liz:** A big one!

**Abberline:** Did it have a curved blade? About this big?

**Liz:** Uuuum.. no. It was a long one... wiv a straight blade.

**Abbeline:** Nichols boys are led by Michael Kidney, are they not? When was this?

**Liz: **'S right sir, last night it was sir. Round 'bout eleven.

**Abberline:** Where did you see him?

**Liz:** Lemme see .. Brick Lane, I fink - corner Brick Lane and Whitechapel Road. Nah .. corner Brick Lane and Wentworf street. That's where it was, Inspecta. Can ya believe? Said 'e was gonna poke my eye out - said 'e wanted four pound! Took all me money off me! Bastard! You should arrest 'im you should!

**Pearly:** 'S sight Liz! You lot should arrest him. Bloody no-good thieves thieveing off us poor 'ard working ladies and roughin' us up like that scaring us 'alf to deaf and freatening to take bits off us! Should be arrested 'e should!

**Abberline:** I shall see about this. Godley, after your expedition to Abacus Costume Store, have the men round up Michael Kidney.

**Godley:** Right you are, sir. I'll be on my way then.

**Jack:** Yes, me too. Inspector, Sergeant, ladies.

**Abberline:** I'll see you to your lodgings, Mr London.

EXIT Godley, Abberline and Jack London

**SCENE II**

**The Streets**

**Jack:** Some eight hundred thousand people live here in this teeming slum,

here the cattle and sheep are herded into the slaughter yards to be bludgeoned, bleating with fear and pain.

The streets are stained with blood and excrement. Rubbish and soot add to the horrendous stench...

**Abberline: **Yes it's why I loathe it here... inspiration for your next column, I presume.

**Jack:** Yes, It's one of the only reasons I stay here - to write about the squalor, the likes of such I have never seen in the new country. Inspiration yes... inspiration...

**Abberline:** Whats wrong, man? You have gone quite pale? Mr London?

**Jack:** Yes, it's... Ah! The knife! The knife! It's here! ... somewhere... The grisly knife...

**Abberline:** What?

**Jack:** The knife .. the knife is here... here... just over here... the knife ...

**Abberline:** Good God! A Kopesh dagger!

**Jack:** Yes the knife .. with .. so much blood .. take it ... take it away!

**Abberline:** From the blood-filled gutter... very well. Let me get my handkerchief.

_Abberline uses the handkerchief to clean the dagger and then drops the handkerchief in the gutter._

**Abberline:** Come on man. Let's get you home.

**Jack:** Ooh, the blood... so... much blood ...

_Jack leaves with Abberline's help - staring at his hands._

**AUGUST 30**

**SCENE I**

**Maryleborough Workhouse  
**

**NARRATION Sally Gallagher:** Oh Lord, deliver us from the valley of the shadow of death, for once again I am forced to a task I loathe - scavenger duty. If the stench of the skilly isn't enough to endure, then adding this vile yellow liquid to disinfect the refuse that once was food makes my stomach stick in my throat. The whole mess is put in a sack to then be tossed into the street, where the unruly and desperate that have naught to eat, fight and bicker for every last disgusting piece of bone or hard, stale bread. The Lord works in mysterious ways.

Quiet everyone! Hear the word of the Lord!  
"Oh Lord thy heavenly grace impart  
And fix my frail inconstant heart  
Henceforth my chief desire shall be  
To dedicate myself to thee."  
Ponder these words today for this is a very improtant message.

Dedicate yourselves to the Lord, heart, body and soul.

**Sally:** _(cough cough)_ God grants you mercy. God grants you peace... Alright! _(cough)_ Don't push! Don't shove!

_Sally hurls the sack into the mob. _

**Crowd:** Loverly piece of meat 'ere! gimmie that's'mine, bread! aahh. Haaw, I'm starvin! gives it 'ere!

**Sally:** God forgive them, for they know not what they do.Now eat and be thankful, for there are many who have less than you.  
**Man:** Yeah, but not much less.

_Laughter. Sally throws her bible at the man, who flinches and throws it back creating a general uproar._

**Man:**Oh, throw your bible at me will you? Here! Have it back!  
**Sally:** Ow! Why, you!...

_Crowd laughs_

**Sally:** May God keep me strong through these duties. May his words keep me strong.

**SCENE II**

**The Streets**

**Badger**: Good evening, young miss.  
**Sally**: Good evening to you, sir.  
**Badger**: Allow me to introduce myself. My name is Badger. A good friend of the Salvation Army. Yes, yes. You do a lot of good work, yes?  
**Sally**: The Lord does call for special disciples.  
**Badger:** Oh, indeed he does, yes. Tell me, how was your day?  
**Sally:** I have been working at the Marylborough Workhouse ...  
**Badger:** And this work is, how you say, in keeping with the work of the Lord? **Sally:** I suppose so. I was on scavenger duites this evening, throwing the waste into the streets where the poor fight and push each other for the leanest scrap of meat or a small chunk of rock-hard bread. They flock like rats, like vermin, biting, scratching. It is beyond us to provide for them. Beyond even the reach of the Salvation Army to even supply them with food. We fund the Army ourselves and with meagre donations, but our resources are so quickly drained. It seems so hopeless sometimes. The wealthy do not care for their fellow humans as they should.  
**Badger**: Indeed, and this is a terrible thing, this inequality. Yes, a terrible thing. If only there were a way to right the balance, no? Well, I would bid you goodnight, Lieutenant Sally, and I hope you are on the right path to correct these misfortunes of our society.  
**Sally:** Goodnight sir.

EXIT Badger

**Sally**: How did he know my name?

EXIT Sally

**SCENE III**

**Water Fountain outside Ten Bells****  
**

**Polly:** 'Allo Pearly! Where you dossin' down this night?  
**Pearly****:** 'Allo Polly! Right ova inna Frying Pan lodgin' 'ouse. Luvly new bonnet you 'ave!  
**Polly:** Brand new it is! I'll 'ave me lodgin's tonight, I will... har! I already 'ad 'em thrice ova today.. 'cept I spent 'em. Har! Never you no mind... I'll 'ave 'em again._(starts combing her hair)_  
**Pearly:** So where'd you get yer new bonnet then, eh?  
**Polly:** From the 'atter, wassis name... Levva Apron.. 'swot it is. Member 'e was fightin' wiv that street magician inna Ten Bells? Knocked hisself clean out, 'e did.  
**P****early**: I remember alrigh'. I wouldn't mind one of 'em bonnets meself.  
**Polly:** Bet you would, but it's a one of a kind 'e said. Said it was like wot they was wearin' in Paris, 'e did. Well, I'm orf. See ya inna monin, luv.

EXIT Polly

_distant clop of horses hooves on cobblestones._

**Pearly:** An' off she goes actin' like the queen herself wiv 'er fancy new 'at. Pfft!

_Horse and coach get closer and closer until ..._

**Netley:** Oi! Watchit!

**Pearly:** Oi yerself! Watch where ya goin'! Nearly run me ova ya did!

_Horse and coach on cobbles fades_

**Pearly:** There's a lot of coaches go froo 'ere, but that's a fancy one. Must belong to some distinguished fella with a good bit of coin. Where's 'e goin' then? I fink I'll might jus' find out.

**SCENE**** IV  
Wentworth Lane Candy Store**

**NARRATION Pearly Poll:** So I end up following this coach all a way into Wentworf Lane next to the candy store and who should get out but none other than this distinguished gentelman. All 'at 'n coat 'n cane, 'oo went across the street into that strange gentlemen's club. Then the coach takes off down the street an' I'm puffed, so I decides to jus' go into the candy store.

_Ring of the bell as she enters_

**Pearly****:** Oooh, luvly... Good evenin' to you sir! You look right dashing you do today.

**Shopkeeper:** Why thank you ma'am.

**Pearly:** Lookin' for a lady friend are, you?  
**Shopkeeper****:** Ooh no, maa'm. Married I am. 'Ave been for three years. Anything I can get for you, luv, I'm about to close the shop. 

**NARRATION Pearly Poll:** And God 'elps those that 'elps 'emselves, and by God I did... even though I wish I coulda paid for them cashous.

**Pearly****: **'Ow 'bout some of these 'ere fings.  
**Shopkeeper:** Like to try 'em then? The caramels.  
**Pearly****:** Ooh, yes. Mmmm... luvly! Wot 'bout these?  
**Shopkeeper:** Uhh, only one sample per customer, you see? Anything for you tonight then miss? Only a penny each.  
**Pearly****:** Well, maybe not then...  
**Shopkeepeer:** Well then, goodnight miss!

**Pearly:** An' a goodnight to you too, sir.

_Ring__ of the doorbell__ as she leaves_

ENTER Oscar Wilde

**NARRATION Pearly Poll: **An' then this fella comes outta the gentleman's club and ooh he's dressed nice. So I says to 'im.

**Pearly****:** _(chewing on a caramel)_ Good evenin' sir. Fancy a bit of company?  
**Oscar Wilde:** Well, that depends on the price of the company, does it not?  
**Pearly****:** Only a shillin' for one so fine as yerself, sir.  
**Oscar Wilde:** A shilling? A shilling? Good evening, miss!

**Pearly**: Well yer can keep on going down that-aways, an' she'll charge ya three pence, but she aint got no teef!  
**Oscar Wilde:** Some may count that as an advantage...

EXIT Oscar Wilde

**Pearly:** Oh, bollocks.

**SCENE V**

**The Streets**

**NARRATION Jack London:** I find myself back back amongst the streets of the slaughter yards. Somehow I cannot get the image of that knife out of my mind. The dream... the blood... everywhere... and these damned carrion crows appear to be be attracted to the stench of the slaughter yards, either that or they are following me.

**Jack:** Pesky crow. Off with you! Off with you and stop following me! I shall throw a stone at you! See if I don't! Vermin! Vermin everywhere. Rats in the streets, in the houses. People living with pigs in their rooms. Horses knackered for cat meat, and a million stray cats to boot, rats everywhere and now a filthy crow!

**Ostrog:** I wouldn't be throwin' things at that bird if I were you, which I'm not.

**Jack:** Who's there?

**Ostrog:** Well...it's me innit?

**Jack:** Show yourself!

**Ostrog:** Ha ha... in which way... in which way, huh? Heh. Nnnnn. In the light of the lamp or the light of the moon?

**Jack:** Who are you, sir?

**Ostrog:** Some call me Ostrog, but I am no sir, and neither are you, no sir, no sir-ee. Ha haa. But! You've seen him, you have. You've seen him.

**Jack:** Seen who?

**Ostrog:** The man with tha' crooow. He's always got a crow. That would be the crow. Yeah... there... the croooooowwwwww.

**Jack:** You mean, Rave Danger? That charlatan!

**Ostrog:** Naahhh... or yeah... whatever he calls hisself these days. But that's not him yasee... well it is, but you can always tell acourse, coz 'es always got that croooowww. Mmmmmm... yeah... that's how ya tell him coz of tha croooow. It's his eyes. Tha crow. And his eyes, coz he dont got any anymore, sept he sees just as well and better still coz he's got that crow.

**Jack:** What the devil are you talking about, man?

**Ostrog:** Oh! A devil! Ha! Yeah... some might say that. Devil with a crow. Don't ya understand? You can tell him coz hes always, always, always got a crooooooooooow!

**Jack:** Well, excuse me sir, but you are making absolutely no sense whatsoever. Goodnight.

ENTER Crowley running

**Crowley:** Sir! Sir! Good sir! Protect me!

**Jack:** What is it boy?

_Crowley picks Jack London's pocket and runs off real quick._

**Jack:** Hey! Hey! My wallet! Damned thief! Come back! Come back here at once! 

EXIT Crowley and Jack London

**Ostrog:** Arrrrrrrrr. Games! I like games! Catch the boy... catch the boy.. hahaarhahaarrrr -nnnnnn.

EXIT Ostrog

ENTER Rave Danger from the shadows

**Rave:** A merry chase, eh? Ravenos! Follow them! We cannot allow any harm to befall Jack London. He may be the one! Follow him! Lead me to him!

**Ravenos:** Aaark! Aaark!

EXIT Rave Danger

**SCENE VI**

**London Docks - Hay Warehouse **

ENTER Crowley

**Crowley:** Come, come! Said the spider to the fly. A bale of hay alight from the loft shall see you creatures scatter and burn. Quickly, Crowley, hide! Ready the match.

ENTER Ostrog

**Ostrog:** _(sniff sniff) _Hee heee... I know you're in here, boy. Here in this hay barn. Hiding from ol' Uncle Ostrog... yeaahhhh. A tasty little treat you arrrre... hahhahah, nnnnnn. Can't hide for long, nnnnnnn._ (sniff sniff)_

_sound of a striking match_

**Ostrog:** Wassat! Huh? Matches? Matches!

ENTER Jack London

**Jack:** _(out of breath)_ Damned Pickpocket! He must be in here! Somewhere! Damn it! Seems I've lost him! Ostrog? What are you doing- Ostrog! Look out!

_crackling flames_

**Ostrog:** Yaaaah! Yaaaaah! Fire! I's on FIRE! YAAAAAAAHHHH!

_smashing glass_

EXIT Ostrog through window

ENTER Ravenos followed by Rave Danger

**Jack:** Ah! The bale has set the hay barn alight! I've got to get out of- Rave Danger!

**Rave:** Ah! Fire!

**Ravenos:** Aaark! FIRE! FIRE!

**Jack:** Rave! My God! Your face!

**Rave:** Ah! No! No, Jack! You must understand...

**Jack:** What kind of monstrosity are you! Let me pass! Get out of my way!

**Rave:** No! Wait... ooomph... Jack!

**Jack:** HELP! FIRE! Quickly! Fetch water! FIRE ON THE DOCKS!

EXIT JACK LONDON

**NARRATION Rave Danger:** My facade has slipped! He has seen my true form! Oh, disaster! The flames! The terrible flames! I see the boy exit the burning building through the loft window, grasping a book. As he struggled through, a page from the book came lose and wafted to the ground amidst the flames. I immediately sensed magic within that page, within that book. For a second my desire overcame the terrible fear and ran into the blaze and snatched the page receiving burns to my hands and arms in the attempt. Clutching my prize in hand I dashed for the door. Fear overtook me once more and I found myself rolling on the ground until...

_splashing of water_

**Man with bucket:** He is out! Hurry! The barn! Form a chain! Hurry before it spreads further!

**London:** Here! Quickly! Hand me that other bucket!

**Pizer:** Hurry! Here! Haste! Haste! Form the water chain!

**Man with bucket:** Here! Water! Here!

**London:** Good! Keep it coming, man!

_Fade out commotion and bells of fire engines._

**NARRARTION Rave Danger:** As the commotion rises and the fire spreads, I slip away into the shadows. I had forgotten the effect of fire upon my vampiric nature. Panic. Raw panic. What are these splinters beneath my nails? Did I grip the doorjam so hard? And what is this? This strange page? A pentagram – the five pointed star within the cirlce with arcane symbols written upon it. Strange. Why was that boy carrying such a book? What incantation is this strange symbol a part of? A summoning of dark denizens? A magical circle of protection? Perhaps some dark gate through which travel to other realms may be made. Ahh, but behold! Dawn is but a few hours away. I shall consider this later. I must away to my coffin and quickly, lest the light of day reduce me to ashes.

**SCENE VII**

**Darkness**

**NARRATION Jack London: **After fighting the fire I collapse, exhausted, but alas, again my dreams are haunted with gruesome images. The silhouette of a woman in the lamplight, the slice of a knife through flesh and the gurgling of a throat trying to form a scream but finding no voice. Blood, and more blood soaking into a woman's clothing.

A knife slashing again and again and again. Shaking hands cutting and slicing at the dead flesh. Seeking. Stabbing once, twice in frustration. Blood... oh, the blood...

**AUGUST 31**

**SCENE I  
Bucks Row – in the ****Hackney****  
**

**Abberline:** What do we know so far, Godley?

**Godley:** She was found in Bucks row by Charles Cross, who called upon PC Niel who made it 3.55am. Niel found her hands to be cold, but her arms warm and spotted her throat cut ear to ear.

**Abberline:** Anyone know who she is?  
**Godley:** No sir, not as yet. Here we are, Inspector.  
**Abberline:** Good. Damn these hackneys. Shake every tooth in your head loose. Blasted, hellish contraptions.

_Hackney comes to a halt and Abberline and Godley disembark_

**Abberline:** Let's have a look then, shall we? Light here please, Godley.

**Godley:** Coming sir.

_Godley goes over with a lantern._

**Abberline:** The throat and gullet have been completely severed, right back to the spinal cord. On the left side of the neck about one inch below the jaw there is an incision that continues about four inches around the the right. About an inch below there is a second cut ending three inches below the right ear, very deep and nicking the vertebrae of the neck, nearly severing the head. What puzzles me, Godley, is where is all the blood? Some here, yes, but not enough, is it? Her eyes and mouth are open... hmm, five missing front teeth. Her hands are cold. I'm guessing she has been dead for approximately thirthy minutes, that would make the time of death 3.45am. Godley, fetch the cart and have this mess cleaned up.

**Godley:** Yes Inspector. Alright lads, on the cart with her and down to the mortuary. And get some water here to wash away the blood.

_The sound of a bucket of water splashing and washing the blood away._

**SCENE II****  
The Mortuary**

**Godley****:** Alright then. Let's start with the clothing list shall we?  
**Abberline:** We have... one new black straw bonnet with black velvet trimming, Brand new and seems a little out of place. Don't you think, Godley?  
**Godley:** I'll see if I can find me a lead with the hatters around Whitechapel. See if we get a correlation between the hatter and this unfortunate.

**Abberline: **Yes, very good. To continue: One reddish-brown ulster, in a state of disrepair, the pockets contaning a small broken piece of mirror, a broken comb and white handkerchief. Next, we have a brown lindsay frock, two peticoats, one of wool and one of grey flannel, with... what's this? "Lambeth Workhouse" stitched in the corner here. Godley, make note of that will you?

**Godley:** Yessir.

**Abberline:** One badly worn pair of boots, a pair of black stockings... What's this? **  
Godley:** What is it? Oh! Oh, Lord!  
**Abberline:** We have more wounds here than we thought. Here on the lower part of the abdomen. Godley, your pencil please. A large slash which starts at the solar plexus and goes all the way across under the pelvis and back up to the left of the stomach where it becomes a jagged rend. There appear to be two stab wounds directly to the genital area. Here and here.

_Godley pukes _

**Abberline**: You alright, there, Godley?  
**Godley**: Well, yessir, I think... I think I'll just get some air. Oh, mornin' Mr London.  
**Jack**: Sergeant Godley... Inspector... Same killer as before, Inspector?  
**Abberline:** Hmm... It would seem uncertain. The last victim had multiple stab wounds, whereas these are quite different. More like slashes and the throat is severley cut. I must confess that at this time I am fairly puzzled. From the wounds on this body it would seem our killer has used a somewhat different blade, this one being longer and thinner than the previous, perhaps something that a butcher or leather worker might use. Very sharp.  
**Jack:** Any idea of the identity yet? Another unfortunate?  
**Abberline:** It seems so, but we have no identity as yet.  
**Jack:** Any clues at the crime scene, sir?  
**Abberline:** Unfortunately no, not as such. Only this Lambeth Workhouse grey flannel and the fact she was wearing a new bonnet.  
**Jack:** I suppose you'll need a photograph of the body for your records, Inspector. It's nearly daybreak and as soon as there is enough light I'll get to it.

**Abberline:** Right then let's get her on the hook.

**Jack:** Pardon?

**Abberline:** Well, you would need her upright don't you?

**Jack: **Oh.. yes, yes of course.

**Abberline:** Well grab her under the arm then man, let's get her up. That's it, that's it, this way... a little left... that's it... we had best insert the hook into the base of the skull.

**Jack:** Oh my, ooooh my, oooh...

_Abberline cleans his hands with a handkerchief after she is up and dangling._

**Jack:** I shall set up the camera, shall I?

**Abberline:** Yes indeed please ... and be quick about it, will you?

_Jack takes the photo and right after the body falls, leaving the head dangling on the hook. Jack jumps back._

**Jack:** Oh my stars!

**Abberline:** Just in time I'd say. Seems the weight of the body was enough to separate the head from the spine - I shall have the morticians deal with this.

**Jack:** I... I shall run a column to try discover the woman's identity, Inspector, and please, if you have any new information you may contact me at the Star.  
**Abberline:** Yes, thank you, Jack. Good day.  
**Jack:** Good day Inspector.

EXIT Jack London

_Abberline wipes his hands and drops his handkerchief to the floor._

EXIT Abberline

**SEPTEMBER 1**

**SCENE I**

**Ten Bells**

**NARRATION Inspector Abberline:**

Here I am back in this filty pub, I am here to meet Sergeant Godley and also Jack London to discuss events. I must say that strange turn of events with Jack finding the dagger had me on edge. Nevertheless, there's a certain air here - this is where things happen, I know it.

_Bell at the door rings_

ENTER Godley

**Godley: **Evening Inspector. What we having?

**Abberlie:** A stout.

**Godley:** Two stouts here, barkeep!

_Bell at the door rings_

ENTER Jack London

**Godley:** Make that three barkeep! Mr London - glad you could join us.

**Jack:** Abberline, Godley. Cheers, gentlemen. To curiosity.

**Abberline & Godley:** To curiosity.

**Godley:** Blimey, that's an odd toast. What have you got there, Inspector?

**Abberline: **It's a letter from LP Walter requesting a reward for the capture of the killer. Sir Charles Warren in charge of Home Office has denied the request. Any clues on that soldier's costume, Godley? Hired from, ah, Abacus was it?  
**Godley: **Yes, Abacus, that's right. Amongst their repetoir and what have you, the costume was hired out by a Mr Nemo. However, sir, it seems that this Mr Nemo does not actually exist. He has no records. No birth records, or indeed any records of him ever actually being in London. We haven't been able to turn up anything.

**Jack:** What about that dagger, Inspector?

**Abberline:** Ah, the Kopesh dagger. I assume that it was indeed the murder weapon, however, such an item could have been picked up by any collector or curious person at the bazaar. I am sure you remember the crowds at the Duke's birthday... then it was left in a pool of blood by the slaughteryards. Quite frankly, sir, I am afraid that the knife itself cannot be traced to any one culprit.

**Jack: **I see. What's the newest clue on the new bonnet?  
**Abberline:** Yes, a brand-new bonnet. Where does a girl get a bonnet like that?  
**Godley:** Currently got that under control, sir. But there seems to be about twenty or so hatters in the Whitechapel district. Maybe one of the other unfortunates may know something about it.

Abberline: Perhaps so, Godley. I'll ask.

**Annie:** An' I 'ear that Cathy Eddowes is goin' 'op pickin' wiv John Kelly...

**Pearly: **Shurrup Annie! I just 'eard the Inspecta sayin' somefin' 'bout that bonnet. Oi! what's this 'bout a bonnet Inspecta?

**Abberline: **Perhaps you would know Miss Pearly - the bonnet belonged to an unfortunate murdered last night.

**Pearly:** Oh no! Not anuvver one!

**Jack:** Yes, the photograph was published today. See for yourself.

**Pearly:** Ohh! No! Polly!

**Annie:** Wot! Oh Gawd! It is! 'S Polly Nichols!

**Abberline:** Polly you say?

**Pearly:** 'S right inspecta, Polly Nichols 's her name... although I fink her real name was Mary Ann. She was anuvver one of me friends... Oooh! _(sobs)_

**Abberline:** I see...well,let's get straight to the point, that ah, bonnet that Polly Nichols was wearing. Did she say anything about it?

**Pearly:** Oh! Oh! Inspecta! I'm rememberin' somefin' 'bout that! I do! I remember Polly talkin' 'bout 'im... the one 'oo made it for 'er, but it's still a bit fuzzy. Maybe anuvver gin to calm me down after all that nasty, nasty business wiv me poor friends.

**Abberline:** Mmmph. Barkeep! Gutrot for the lady.

**Barkeep:** Comin' up!

**Godley:** You happen to remember the name of the establishment, miss?

**Pearly:** Umm ... lemme see .. wool? ... no ... cotton ? ah... Levva! That's it! Levva Apron.

**Godley: **So, that was the name of the person or the establishment?

**Pearly:** That was the gentleman 'oo made it for Polly, it was.

**Abberline:** Is that right?

**Pearly: **'s right.

**Abberline:** Could you describe him to us?

**Pearly:** Ahh ... well looks like every other man I guess. 'cept 'e wears this levva apron. 'Ow 'e gets 'is name, innit?

**Godley:** You've see him before?

**Pearly:** Yeah, I seen 'im all right I 'ave! You seen 'im too didn't cha Inspecta - that night 'ere at Ten Bells - remember? When there was that fight wiv that magician fella.

**Jack:** Mr Danger you mean?

**Pearly Poll:** 's right. All 'at and cloak 'e was.

**Jack:** I can't quite remember...

**Abberline:** We were both there man! I had Godley take the man to the station to sober up.

**Jack:** I seem to recall something peculiar about that fight too... but somehow my memory fails me...

**Godley:**_ (mumbling)_ Mr Nemo... Leather Apron ... Rave Danger ... what a peculiar bunch of names.

**Abberline:** Rave Danger is rather peculiar at the best of times.

**Jack:** Yes... yes, indeed... h..h...his face ...

**Godley:** Can you tell us, miss, where does this Leather Apron have his shop?

**Pearly:** I dont rightly remember ...

**Annie:** _(leans over)_ You lot talkin' 'bout that Levver Apron fella - 's a good customer 'e is - roughs us up a bit sometimes... but 'es always nice to me... an' 'e didn't freaten to cut me eye out, neither... but I seen 'im on Wentworth Lane, I did.

**Abberline:** Wentworth Lane you say... Thank you ladies.

**SCENE II**

**The Streets**

**Rave:** _(dramatically) _Good evening, young lady!

**Sally:** Good evening, sir.

**Rave:** You may recall I am Rave Danger the illusionist? Though I never learned your name, miss...?

**Sally:** Sally Gallagher, Lieutenant Sally Gallagher.

**Rave:** A pleasure to finally make your acquaintance Lieutenant Sally. I was hoping to see you out tonight actually - have you a moment?

**Sally:** Certainly, what can I do for you?

**Rave:** Come, sit. _(he gestures to a bench) _I see you are uneasy in my presence - sometimes people who do not understand magic are often frightened of it... am I wrong?

**Sally:** That is a very plausible explanation. I do not, however, believe in magic. I believe everything you do are just clever tricks.

**Rave:** Indeed they are just tricks! _(he pulls out a pack of cards)_ Shall I show you?

**Sally**: There is no need of your card tricks, anyone can make up an explanation for any card I should take.

**Rave:** Ahh, but they are not merely cards, but portents of the future.

**Sally:** And your hypnosis, whilst rather well performed, is just a staged performance. I know very well the extent the inhabitants of Whitechapel will go to for money.

**Rave: **Perhaps it would seem that way to you. However, I assure you that my powers of hypnotism are quite real. And quite a handy thing it is too, and not just for me... imagine how many converts you could get into your Salvation Army if they had just a tiny idea planted in their minds.

**Sally:** Sir, converts must come to the grace of God of their own free will, not by the tricks of a hypnotist. I think I had better go.

**Rave**: Where are you off to tonight?

**Sally**: I am... on my way home. I have had a busy day and all this talk of murders makes knots in my stomach.

**Rave:** Ah the murders, yes - I heard something about that – although not much, unfortunately.

**Sally**: From what I hear it was bad. A woman found with her throat slit, stab wounds to her lower body as well. Poor woman was bled and then mutilated. I can't imagine what kind of a monster could do something like that. They can't be human... its too horrible.

**Rave:** Terrible times, yes... Nothing anyone can do. It is just the way things are.

**Sally:** The one thing that I have no explanation for, Mr Danger, is how you could move so fast. You may recall the disagreement you had with a gentleman in Ten Bells not so long ago. You seemed to vanish then instantly appear behind the man. How is this possible, and in front of so many people?

**Rave:** I am the Master Illusionist!

**Sally:** I believe not in illusions, but this, the holy symbol of our Lord Christ crucified... an atonement of our sins.  
**Rave**: Indeed. Indeed. I hope your faith is not misplaced. I bid you good night Lieutenant Sally. Goodnight and farewell.

EXIT Rave Danger

**Sally:** I only wish to make a difference in this awful male-dominated society! To bring an equality between the rich and the poor - to be salvation to those that require salvation ... _(sigh)_ still ...

ENTER Badger

**Badger**: Lieutenant Sally. Good evening to you.

**Sally:** And a good evening to you, Mr Badger. Tell me, how is it that you knew my name when we first met?

**Badger**: I shall show you - come with me now.

**SCENE III**

**St Mary's Chapel**

**NARRATION Sally Gallagher:** I follow this 'Mr Badger' to the old St. Marys Chapel. I know this place to have been abandoned years ago. He leads me to the large double oaken doors with their embossed dark iron hinges. I enter and find the place dark, as I had envisioned, save for the moonlight streaming through the ornate stained glass windows. This place is dark and abandoned. Once a place of worship, now forgotten.

**Badger: **Come in. Sit.

**Sally:** Pardon?

**Badger:** Shhhh! You see this man here? The old priest. Poor man. You see how his congregation left him? Still, he is here - now sleeping at the altar. Drunken and lost. This is a man that has lost his faith. He may hate being here, but he has nowhere else to go. He disgraces this place with his presence. A priest. Wearing the priest garb, but with no faith left within him. Perhaps he dreams of the times this church was full, the times when this place had not been vandalised and neglected, or perhaps he does not dream at all. Will you too, end up like this, Sally? Will you loose your faith? Let me ask you a very serious question. Do you believe in 'eternity'?

**Sally:** Yes, I do.

**Badger:** Are you willing to serve your God forever?

**Sally: **Yes, I am.

**Badger:** Then give me your arm.

**NARRATION Sally Gallagher:** I am unsure, yet, I am tempted. I slowly extend my arm. Whilst I am not brave enough to witness it, I can feel his cold fingers take my wrist. I feel him roll up my sleeve and then a sharp pain followed by an ecstatic numbness that travels my body and leaves me paralyzed. I glance towards my strange guide and see him lift his bloodstained lips from my flesh. Now that the contact is broken I feel too weak to even breathe, I can feel myself dying. My vision begins to fade. I faintly hear Big Ben strike twelve in the distance. Through the blackened blur of stained glass and gold of the church I see Badger slice his open wrist with one sharp nail.

**Badger:** Drink Sally. And serve your God forever, if this is truly what you desire.

**NARRATION Sally Gallagher:** He presses the wound to my lips, I taste the tang of what must be his blood and I find myself unable to resist this new sensation. I drink. Within seconds my vision returns to normal and my limbs reawaken. Soon this sluggishness wears off and I can feel myself grow stronger with every swallow of Badgers blood.

As soon as I begin to ride this current of ecstasy, it stops and I find myself alone, seated in the pew of this dark cathedral. Another second passes and I grip the pew hard as a horrendous pain courses through me. Gritting my teeth to keep silent, I feel how my body finally dies and I change into something unknown. All other senses are silenced by a new need, something stronger than I have ever felt, a craving. I sense the old priest at the altar still slumbering, I sense the blood in him... and I approach, knowing what I am about to do, helpless to prevent it.

**SEPTEMBER 2**

**SCENE I  
****Front Page of The Star **

**Narration Jack: **September 2nd, 1888.Murders continue in Whitechapel, following last night's discovery of a brutally, savagely murdered body of a woman. Police have begun frantically and thoroughly searching the area for any clues. This murder is the second in what looks to be a series of murders that have taken place recently in Whitechapel. The particulars of these murders have been dasterdly and gruesome and they have been perfomed in such a manner that only a savage, an extremely brutal savage, could have performed such horrid acts. The victim was identified as Miss Polly Nichols, an unfortunate who spent much of her time drinking gin down at Ten Bells. She was found with a throat wound and some severe abdominal wounds. Inspector Abberline is currently investigating the case. Also in the news, severe fires destroyed much of the docks last week. The cause of the blaze is unknown at this time, although it is thought to have started in a hay warehouse. Police are investigating the incident.

**SCENE II  
St Mary's Chapel**

**NARRATION SALLY: **My eyes snap open, I awake. For the first time I am not cold, not at all. I look at my hands, strangely changed, a little more wizened and very pale. Is that blood under my nails? I exit this dark room which I now recognise as a confessional, as I enter the main church hall I again inspect my surroundings.

I see ornate stained glass windows depicting the saints, the baptism of Christ and Christ in Splendor in immense detail. The floor is littered with stones and shards of the partially collapsed roof. The myriad of unlit candles that adorn the room are half burnt stumps.

The altar still exists - old and disused. It is now stained with blood and the corpse of an elderly priest lies there. The recollections of the previous evening come flooding back to me. Slowly I reach up and find that my mouth and cheek is still stained with dried blood. 'This cannot be happening .' I think as I wipe the blood away with my sleeve.

**Sally:** What have I done? Is he dead?  
**Badger:** Indeed he is dead. You have drained all the blood from his body.  
**Sally:** What the hell did you do to me?  
**Badger:** I have not given you Hell, but rather saved you from it. I think you have realised that your body has undergone quite a few changes, yes? Yes. Well I guess it is time for us to start with your education.  
**Sally:** What do you mean?  
**Badger:** This unfortunate man has no more life left in him. He has transferred part of his life to you. You should appreciate it. He has given up his life so that you may feed - and you must feed. It is the nature inside all of us, that we hunger, constantly. But, there are, of course, the advantages as well. New powers you wil be able to wield. This is why I have chosen you, for you may now reach your full potential.  
**Sally:** At the cost of lives?  
**Badger:** Mmm. Indeed at the cost of lives. The cost of lives to save lives.  
**Sally:** How can you justify that?  
**Badger:** My dear, everybody dies. Sooner or later. It is up to you to make the choice now, you have the power over life and death. You are neither living nor are you dead. The eternal life you talked so much about as a Salvation Army officer, you have now achieved. You cannot die, Sally!  
**Sally:** I cannot die? And yet I need to kill others to survive?  
**Badger:** You do not need to kill to feed. It is much better to take a little from here, a little from there - earn the trust of your prey. Sample them, experience their lives, get to know them, appreciate them. Do not leave behind marks or evidence of your real nature, as the mortals do not know of our existence. It is imperative that you keep the secret - for the benefit of all and mostly for the benefit of yourself. Do I make myself clear?  
**Sally:** Yes, sir.  
**Badger:** That is good. Well, I shall leave you to enjoy some of your new talents. I bid you a very good night. I am sorry you will not see the sun ever again. But there are things much more beautiful in the world. Look with your new vampire eyes and you will see them.

**NARRATION Sally Gallagher:** Badger tips his hat and opens the large oaken doors with the slightest touch, glances at me one last time and leaves. I am left alone in this all Vampires. Creatures made up to frighten children... not so it seems... but me? A vampire? Sureley not. I feel different and Dear Lord I do not appear to be breathing! I make an effort to expand my chest and draw a breath. I feel no different. I take my arm and feel for a pulse - nothing. Perhaps it is true...

This cannot be happening .. this is .. I must be dreaming .. This cant be happening! Wake up! Wake up! I grab the nearest pew and send it flying through the air and smashing into a wall on other side of church. Such strength! Oh, God! What have I become? This cannot be true! Am I damned? No! Noooo! I can't be!

_Sounds of smashing wood on stone_

Without knowing it I begin to tear the chruch apart, sending pews flying across the hall and even punching bricks out of the very walls and columns! This is madness! This can't be happening! I'm just dreaming! It has to be a dream! A nightmare! WAKE UP! I find myself at the large marble font still full of holy water and without so much as a thought, tear the whole thing out of the floor, spilling the water all over the floor. Some of the holy water splashes onto my fingers and hands and it burns like acid! Ahh! It burns! I hold my smouldering hands to the heavens. What kind of demon have I become that I can no longer bear the touch of blessed water? Why, God, have you forsaken me? I spin round, tearing the confessional curtain from it's holdings with a rending sound. I beat my fists against the stone floor till I collapse.

That devil! That... that... Badger! He tricked me! Unholy devil! I begin to cry. I am not dreaming. No, this is all real. It is happening. I wipe at my tears and find that my hands come away stained with blood. I am weeping blood? I howl in dispair and slam my fist into the floor, smashing the stone tiled floor. I look up at the large crucifix hanging above the altar, bloody tears still streaming down my face. I see the old priest, dead on the altar.

Was this my doing? Surely I am now damned forever.

I drag myself into a corner, hugging my knees and I close my eyes and recite the Lord's prayer, over and over again, as my world is ripped from me and all becomes a dark chaos.

**SCENE III**

**Ten Bells**

**NARRATION Pearly Poll:** An' ere I is at Ten Bells, again. I see that Inspecta and his Sergeant an' that Mr London from the papers here again, drinkin' their beers and talkin'. Spent the last of me earnin's onna gin an I'm wiv Long Liz and Annie - and they is a-arguing again. Seems them two never get on.

**Liz:** You owes it to me Annie! That soap cost me two pence and you never paid me back for that uvva piece neither!

**Annie:** Well you wanna be like that you can 'ave your blasted soap back then! Here! Right at your ugly head!

**Liz:** Oi! I'll do you for that!

_Punching sound_

**Pearly:** Go Lizzie! You get her! Right inna eye. Hera haaa!

**Godley:** You think we should break this up, Inspector?

**Abberline: **I think we should duck.

_Smashing crockery_

**Barkeep:** Oi! Oi! Will you lot stop that and take it outside will ya!

**Abberline:** Time to break this up, I think. Annie! Stop this at once!

**Annie:**Piss orf coppa!

_Punch in the stomach_

**Abberline:** OOOooor! You bloody bitch! I teach you to punch me in the stomach. Godley! Get her out!

**Jack:**Perhaps I may be of some assistance.

**Godley:** Careful there Jack! Mind 'er leg where she's KICKING!

_Kicking sound_

**Jack:** Ooawaa!

**Abberline:** Godley! Get her out!

**Godley:** Righto then miss, I think you had best be on your way before I have to take you down the station.

**Annie:** Gerroff me! Bloody coppas! You're dead Liz! You hear me! Your'e bloody dead! Unhand me... I... I... _hhhuurrrr_!

_Sound of vomiting_

**Godley:** I think we had better let you sober up somewhere..

**Annie:**_ Hhhhurrrr... hurrr..._

**Godley:** Oh, not on me shoe!

_more vomiting_

**Liz:** Haa haaar! That'll teach ya! Pickin' a fight with me, Dark Annie!

**Pearly:** Oooh! Dark Annie - 's a good one! Wot wiv the black eye an' all.

**Godley:** I think I had better take this one down the infirmary instead, Inspector.

**Abberline:** Very well Godley, I shall accompany you. You alright there, Mr. London?

**Jack:** _(high pitched voice)_ I'll be fine.

EXIT Abberline, Godley and Annie

**SEPTEMBER 3**

**SCENE I**

**St. Mary's Chapel**

ENTER Badger

**Badger:** _(sniff sniff)_ What is this stench? What is this stench here? You have not cleaned this up. Why not? Are you going to leave this kind of rubbish lying around? Clean this place up! Tidy this place and have it in a presentable state! What sort of a message do you think we are going to give to the rest of our kin? Do you not know the nobility that we are? Where is your respect? Where is your blood? This is your church! This is your sacred sanctuary. Put it in good order right away!

**Sally:** Don't you come near me! You stay back, devil! In the name of the Lord Jesus Christ, I command you stay back, servant of Satan!

**Badger:** Servant of Satan! Hardly a servant of Satan, my girl. Now you listen to me...

**Sally:** No! No! You listen to me! Whatever you have done to me I want you to undo it! I cannot exist like this! You hear me! I cannot! You evil scoundrel! You tricked me! You cursed me to this... this... ah!

**Badger:** Now you listen to me! I have re-created you! I made you more powerful than you would dare imagine! And you dare to insult me like this?

**Sally:** _(choking)_ Put.. me... down...

**Badger:** Silence! There is no turning back! You accepted what I had to offer and there can be no undoing! Your purpose is the same. Your God is the same! You are not damned, Sally. You have been given a great gift. It is up to you to use that gift, in every way possible. _(drops her)_

**Sally:** You call this a gift? You murderer! You have made me a creature of darkness! To have taken my life!

**Badger:** Yes. I have taken it. And I have given you life anew! I have given you the eternal life you so very much hoped for.

**Sally:** And what then of my soul?

**Badger:** Your soul is everlasting and is right where it has always been. Under your control and within you. It is up to you what you will become. It is up to you what you will make of this new life. If it is not God's will, then whose?

**Sally:** I cannot believe it.

**Badger:** Believe it.

**Sally:** I have no other choice.

**Badger:** It seems to me that sometimes there is choice, and sometimes there is Fate. Whichever path it is, it is the path we must travel. Pick yourself up, now. See to the restoration of your sanctuary. It is still the house of God. You are now the steward of this house. You are still Sally Gallagher.

_The oaken doors shut with a bang_

EXIT Badger

**NARRATION Sally:** He is right, I have left this much too long. Every time I have tried, I cannot bring myself to touch the corpse and in some strange and disturbing way, the priest was perhaps a reminder of what I am capable of. I march determinedly up to the corpse, the skin and muscle being eaten away by rats. They scatter as I approach. Gathering up the corners of the altar cloth I manage to carry the priest to the crypts beneath the church with this improvised sack. I place him in an alcove carved into the crypt wall and say a prayer over his body.

I focus on my burnt hands. They have begun to heal of their own accord and the burns have begun to fade. Can this be God's grace?

**SCENE II**

**George Chapman – Barber Surgeon**

_bell on the door rings_

**Chapman:** Good day, sir. Wlecome to the establishment of George Chapman.

**Abberline:** I take it you are George Chapman?

**Chapman: **Indeed I am, sir. You are after a trim? Or perhaps there is some other ailment I could assist you with?

**Abberline:** Ailments? Yes, ailments. You have your surgery located on these premises?

**Chapman:** Yes, indeed, sir. In the back.

**Abberline:** I should like to see it, Mr Chapman.

**Chapman:** See it, sir? But you have not told me what ails you.

**Abberline:** What ails me, my good man, is that I am searching for a killer.

_Champman drops his razor with a clack on the floor_

**Chapman:** A.. A killer?

**Abberline:** Correct. I am Inspector Abberline from Scotland Yard. I'd like to ask you a few questions.

**Chapman:** Questions?

**Abberline:** Yes. Questions. You are a baber-surgeon, are you not?

**Chapman:** Well, yes...

**Abberline:** And thus you would have a selection of sharp knives for surgery, would you not?

**Chapman:** But of course, but...

**Abberline:** Show me.

**Chapman:** Ah... Right. Right this way.

_Door opens_

**Chapman:** Here is the surgery.

**Abberline:** Show me your tools.

**Chapman:** Cetrainly, Inspector. I keep them here in my Gladstone bag. It isn't a full surgeon's kit, but it is sufficient for my needs.

**Abberline:** Your needs! And what would they be, Mr Chapman?

**Chapman:** Well, the usual for one in my profession. I pull teeth, lance boils, treat minor wounds...

**Abberline:** So, you are well educated with regard to human anatomy?

**Chapman:** Yes, of course, Inspector. My qualifications are...

**Abberline:** A rather sharp knife, this. What do you use it for?

**Chapman:** Ah. That would be a lister knife. Used for amputations. As you can see, the blade is serrated at the end near the handle, to quickly cut through the bone.

**Abberline:** I suppose it could cut through the neck quite adequately as well.

**Chapman:** Th...the neck? What in God's name would you want to cut through the neck?

**Abberline:** Yes, Mr Chapman. Why indeed?

**Champan:** I don't quite follow you, sir.

**Abberline:** Women, George. For killing women.

**Chapman:** Well, not with a knife. It would be too obv-

**Abberline:** Too obvious? As opposed to something like poison?

**Chapman:** I thought I'd never be found out. It was that Jack London, wasn't it? He put you on to me. He knew! He knew it was I that was poisoning my wife. He knew I killed the others!

**Abberline:** What!

**Chapman:** He knew that I has poisoned my previous wives. Took their money to sustain my business. One by one. Curse that Jack London! He always had an uncanny knack of seeing what lurked beneath the surface! But my wife isn't dead yet, Inspector. You can't hold me responsible for her death when she isn't dead, now can you? She may be ill, but she isn't dead!

**Abberline:** You poisoned your wives?

**Chapman:** And that Jack London knew it. He told you! And now you have me. He sensed the arsenic! I used it for hair growth in one of my tonics, but he knew! He knew I was also using it to poison those women.

**Abberline:** George Chapman, you are hereby under arrest for murder.

**SEPTEMBER 5**

**SCENE I**

**The Streets**

**ACT I**

**NARRATION Sally Gallagher:** Dear Lord what have I become? What was this dark desire, this need? Almost as intense as what I felt before I... before I killed the old priest. The Hunger. This terrible hunger. This terrible thirst.

ENTER Badger and De Walt

**Badger: **I see that you have come out from your chapel. You have not fed tonight and what with you being so young, you will need training in how to hunt. May I introduce you to De Walt. I have placed him in charge of your training.

**Sally:** Training?

**Badger: **Yes. Training.

**De Walt:** Come with me. Let us satisfy that hunger of yours.

**Badger:** You have my trust, De Walt. Sally. Go with him.

**Sally:** Yessir.

EXIT Badger

_Sound of their footsteps on the cobblestones_

**Sally:** About that priest... why couldn't I control myself? Why did I kill him?

**De Walt:** The first hunger is always the most intense. Most of us kill our first victim. But from then on, it is up to the individual to choose whether they keep their hunger in check, or if they lose themselves in their predatory nature and kill and kill and keep killing until their hunger is satisfied. Do you understand?

**Sally:** Yes... well... no.

**De Walt:** It takes much control to not kill whilst feeding - soon you will understand. Look and see - choose your victim. Which would satisfy your hunger? That girl there? The old woman? Or that one perhaps?

**Sally:** Him.

**De Walt: **Why him?

**Sally:** He is a very bad man.

**De Walt:** How can you tell?

**Sally:** I know ... somehow ... I just know. I can sense it.

**De Walt:** Hmmm I see - well then go - but beware that no one sees you feed.

**NARRATION Sally:** And so quietly I follow this man, carefully keeping watch. I am utterly unsure as to what to do, but somehow I know exactly what I need, and how to attain it. I follow him a few more steps then when I am sure that there are no people watching I pounce on the man from behind and drag him into an alley. I sink into a bliss whilst I feed, draining this man's blood and his life into myself. Hearing his heart falter in my head I pull back - but too late. The man's eyes lock on mine then roll back as he draws his last ragged breath and dies.

**Sally:** No matter! It is only right! How many lives have you ruined! How many!

**NARRATION Sally:** I wipe the bood off my lips with my sleeve and get to my feet. I feel De Walt walk up behind me.

**De Walt:** I realise that you may have a deep hatred of these kind of people. But this was not a good thing to do, Sally. Remember that every life is still a life - regardless of how people choose to live them. But it is done now, so now you must conceal the body. Come then - pick him up. Come.

**Sally:** He is twice as heavy as I am... I can't...

**De Walt:** You feel the man's blood inside you? Concentrate and make yourself strong. As a vampire, you possess the strength of perhaps twenty to thirty men. Concentrate and let the blood do its work.

**NARRATION Sally Gallagher:** I momentarily close my eyes and concentrate on De Walt's words. After a short moment my brow furrows and I lift the man a good foot off the ground, one-handed, by the collar of his shirt. I revel in this newfound strength, perhaps, I feel, too much.

**De Walt:** Very good - you see?

**Sally:** Yessir.

**De Walt:** Let's see if we can't hide him in this old building here. See that window up there?

**Sally:** Yes.

**De Walt:** That is where we shall hide the man.

**NARRATION Sally Gallagher:** Using both arms I throw the man's body up three floors and through the window De Walt indicated.

_Smashing glass_

**De Walt: **It will be some time before the body will be discovered in there I should think. Now.. let us depart.

**ACT II**

**NARRATION Sally Gallagher:** In the streets I very quickly notice the changes that Badger was talking about - my vision has improved dramatically and so has my hearing, touch and smell ... all seem have tripled if not more, I feel more aware than ever I was. Catching snippets of conversations with ease I hear about another murder. I think that its best I seek out Inspector Abberline for relevant information and not just fragments of gossip.

But where to start looking? I continue walking until I pick up a scent - just faintly - cologne. The one Abberline wears! Following the scent along a few streets, I finally find Abberline just past Ten Bells.

**Abberline:** Lieutenant Sally. What are you doing out so late? And in these parts?

**Sally:** I was informed of this latest m-murder and I... I thought I would see if Pearly was alright. She is at Ten Bells, I take it?

**Abberline:** Yes, yes she is. I dont think that she will move very far from there tonight. I suppose the gin helps her courage.

**Sally:** I see. It appears she knows something about these murders then?

**Abberline:** Yes, she knows both of the victims thus far. Apparently she's supicious of this 'Leather Apron' fellow...

**Sally:** Leather Apron?

**Abberline:** A hat maker here in Whitechapel somewhere.

**Sally:** Hmm. I see. Inspector, what has happened to this woman? Was it like the last one?

**Abberline:** She was cut up like the last one, but it seems that the killer is ... ahhh I don't know... getting more 'creative' with his victims.

**Sally:** Oh my! I pray you will find this person soon, Inspector.

**Abberline:** Are you alright, Sally? You look very pale.

**Sally:** It's just these murders... are... well... very disturbing.

**Abberline:** Disturbing indeed. Goodnight Sally, and do take care of yourself.

**SEPTEMBER 7**

**SCENE I**

**The Alchemist's**

**NARRATION Rave Danger:** It has been weeks since I have contacted Tom and the Alchemist, perhaps they would know something more about the page I salvaged from the fire. As I approach the alchemist's home I notice that there are no lights on and there is a distinct sense of something not being right. Pushing open the front door, which appears to have been ripped open, I advance with caution.

Inside everything is destoryed and broken. The table is overtuned, the chairs are smashed, kitchen implements and broken glass litter the floor.  
There are holes in the walls and the door leading down to the laboratory has been broken in half.

I creep down the worn stone stairs and find that everything is as equally smashed and destroyed. Laboratory equipment, flasks, beakers, burners all tipped over and in fragments, books shredded and torn. At the very last step I find myself ankle deep in muck. This room was built beneath the street and had a few windows at ankle height from the gutters above. These have also been smashed and all the refuse from the streets is pouring into the laboratory. There are books floating in the sewage, the cuboards have been torn apart as if by someone with supernatural strength. It seems I shall have to seek information myself from what I can salvage here.

The only unbroken thing in the entire basement is a small bottle of blue liquid with a small lable reading: Batch #6. I pick up a few books and attempt to read them, but my attempts to decipher the scrawly writing which has now been soaked and stained are unsuccessful. I take the blue potion and a large leather bound book which I recognise to be the Alchemist's ledger. Perhaps this shall contain useful information.

As I return to the stairs I glance around and notice for the first time the Alchemist's son, Tom, almost completely unrecognisable in amongst the debris and rubble. He is horribly deformed. His bones have been drastically twisted into shapes most unnatural and next to him a headless woman, her form equally as twisted, floats amongst the putrid mess. Could this be the boy's mother? What has happened here?

I espy a knife lodged firmly in a supporting beam and deftly run my finger along the sharp edge, drawing blood. I hold the handle gently between my thumb and bloodied forefinger and allow the vision to come to me.

A flash of rage. Objects thrown and the sound of smashing glass. A woman screams. A terrible sensation as I feel my form alter and transform seemingly of its own accord. An immense feeling of power and strength. Tom's face, white with fear. The consuming rage gains intensity until it feel like a vortex. I charge at the solid wooden door, breaking it asunder, splintering the wood in all directions.

I take my fingers away from the knife and the vision fades.

**SCENE II**

**Darkness**

**NARRATION Jack London: **I'm running along the streets of Whitechapel. Someone or something chasing me. My shoes splash through the rain on the cobblestones and I see blood flowing liberally in the gutters from the slaughteryards. I can hear the horses whinney before they are cut down, sliced up, their flesh ground down to bloody pulp. I turn to see my pursuer, but all I can make out is a top hat and a cloak. He doesn't even seem to run, but he is always behind me. My legs ache and I stumble on the cobblestones, falling flat on my face, my clothes instantly soaking up the blood and water that flows between them. As I attempt to rise, a man stands before me. I see his shoes, his cloak, his white kidskin gloves, his gently curled grey hair from under his top hat. I recognise the face of Rave Danger!

"I do not hunt you, Jack London. I mean you no harm." he says in a soft voice, but all becomes a flurry of black feathered wings like a thousand ravens, and he, the street and everything else fade to darkness.

The image is replaced by a shocking spray of blood on a wooden fence. A gurgling sound and the shredding of cloth. A bright blade cuts flesh. The knife rips and tears through skin. Gloved hands stained with fresh blood retrieve a bottle of some foul smelling yellow liquid and pour it over the rent flesh. The hands cut away at hot organs, ripping them out, placing them in a black bag. A pentagram etched in blood flashes against the darkness and I wake, shivering. Cold. Alone. I get up and stagger to my wash basin, splashing the cold water on my face and glance up to see my haggard reflection in the clouded oval mirror above it.

**SEPTEMBER 8**

**SCENE I **

**The Jewish Cemetery**

**NARRATION Pearly Poll:** I wakes up, findin' that I been sleepin' onna ground jus' by the old Jewish cemetery. Blinkin' a few times to clear my eyes, I try to stand and sober up a bit more wivout much luck. The cemetery is one big plo' of land and bein' overcrowded wiv dead people, it rises like a big pyramid, wiv the top 'arf sliced off. There's a great big vault at the very top. I try to stand again an' this time jus' as I manage to stagger to me feet, I sees this man wiv a top 'at, cu'away cloak and a big black bag runnin' real quick like, t'wards the cemetery. 'E scampers up and 'e dissappears into the vault.

Seein' fings already. _(yawn) _Eh, 'oo was that geezer? Spends all 'is time goin' into a cemetery? An' at this time of the mornin'! What on earf could 'e be doin' in there? Too early for a funeral, an' I'm sure I seen 'im afore.

So I waits a bit and then the sun comes up. 'S not much of a sunrise. The sky jus' gets a lighter shade of grey and does nuffin' to warm me. I waits a bit longer, but when the man don't come out an' I'm still freezin' cold, I takes a few shaky steps nearer the cemetery.

Maybe I should follow 'im. Hmmm. I don't fink I'd like to go in there an' what wiv all these murders I'm a bit scared. What was 'e carryin'? A bag, maybe wiv a knife! Maybe I'll be next! Maybe I'll be cut into billions and billions of bits! Oh! Don't wanna stay 'ere at the cemetery. Oooooh! I wonder if any of me friends are down a' Ten Bells yet? They may be able to 'elp a poor gel in distress. Might be able to get some food. Most part I sure am firsty, though.

**SCENE II**

**29 Hanbury Street**

**NARRATION Inspector Abberline:** The hackney carrying Godley and I goes at breakneck speed through the streets of Whitechapel, from my residence all the way west to 29 Hanbury Street. When we arrive there is already an enormous number of people, quite a mob of onlookers and gawkers.

There are at least fifty people at the front but all in all, there's got to be about two hundred squashing into this place, all pushing and shoving. A few constables attempt to clear a path for us. I push and shove my way through the various stinking halls of this cat meat factory, pushing people out of the way as the other police officers try to get them under control. I reach an open door and a large crowd beyond the door. Pushing them out of the way I go down the steps and into the back yard. I take note of the surroundings. Hanbury Street is a section of five story buildings on a large lane. All the backyards have six foot fences, all eight foot long.

This particular backyard is packed with people, the police officers trying to form a ring around what I can see is one very cut-up woman. The buildings on the street opposite, Penham Street, are also packed with people and there are those among the crowd who got in early, charging however many pence it is for a look at the body.

I finally push may way through and inspect the body. This one stinks worse than the others, flies buzz around the place and the stench is incredible. Godley calls for people to make way and for the police to make order until the yard is cleared of people, even though to clear the people from the surrounding buildings would be an almost impossible feat.

Godley gets some of the sergeants to fetch a large canvas and they hold it up so that the majority of people can no longer see, except the people at the very top of the adjacent buildings.

**Godley:** That ought to hold 'em, sir!

**Abberline:** Good work, Godley. Take notes while I inspect the body, will you?

**Godley:** Ughh! Lord, what a stench! Let me just get my note pad. Ready when you are, Inspector Abberline.

**Abberline:** September 8, 1888. I recognise the victim to be one Annie Chapman. She lies on her back left arm on left breast, her legs have been raised, feet resting on the ground, knees facing outward. Her skirts are raised over her bloodied stockings and it is clear to see that this woman has been disembowelled. What do you make of that, Godley?  
**Godley:** Don't rightly know, sir. It's a straight cut down, with something very sharp. Makes me think of that last murder. Her throat had been cut too.  
**Abberline****:** Yes, but this one isn't so clean is it? She put up a bit of a struggle this one. Note the blood smears on her hands and face, Godley.

**Godley:** If I remember rightly she gave you a good whack in the stomach too.  
**Abberline:** Surprisingly strong for her age. I don't imagine anyone would find it very easy to have cut her throat from the front... What a fool I've been! These last two haven't been cut from the front, but from behind - a possible explanation as to why no one heard any screams. And as such our killer is not left handed but right!

**Godley: **Good work, Inspector.

**Abberline:** To continue. Her neck has been cut as with the others, but this cut is more jagged and reaches all the way around the neck, almost severing the head. Two flaps of skin from the lower part of her abdomen are lying in a large quantity of blood above her right shoulder. Her small intestines have been torn from her gut and are lying on her right shoulder. Seems that part of her uterus is missing and the bladder also cut open_. _You getting all of this, Godley?

**Godley:** Yessir. _(cough cough)_ Every word.

**Abberline:** This is strange, there appears to be some sort of yellow liquid covering the large intestine. Doesn't look at all like a bodily fluid. Eh, Godley, What do you make of that?  
**Godley:** _(trying not to look)_ Make of what, sir?  
**Abberline:** Pull yourself together, man.  
**Godley:** _(comes over with his handkerchief over his nose)_ Make of what, sir?  
**Abberline:** _(gestures at the yellow stuff on the intesines)_ That.  
**Godely:** Likely a gizzard, sir.  
**Abberline:** No, the liquid. It has the scent of some sort of chemical... Oh, not on the body, Godley!

_Godley moves to another part of the yard and vomits_

**NARRATION Inspector Abberline:** The noise and stench of Godley vomiting only adds to the reek of the murder victim. I try to distract myself by noting any clues from the surroundings. I notice that between the womans feet there is a strange assortment of objects.There are two rings made of copper, two pennies and a very shiny farthing all arranged in a particular pattern, I quickly sketch this in my notebook. When joined by lines they form a pentagram. The five pointed star. An occult symbol perhaps? I also notice that above the shoulder and mess of intestines is a small corner of an envelope, it has part of a postage stamp on it and inside are two small white pills. The stamp reads "London August 20 1888" it also has the letter "M" on it. No sooner had I collected the pieces of evidence when Godley called for my attention.

**Godley:** Inspector! Sir!_(cough)_Here! Look! Over here!

**Abberline:** A leather apron? Wet from the water pump and left to dry on the fence. Looks like you may have found a clue, Godley.  
**Godley:** And look at this sir. Written on the wall in white chalk. 'Three down. Three to go. And then I give myself up.'

**Abberline:** Make a note that it is written in script and there are no spelling errors. In fact, copy it down as well as you are able, Godley. Then call for the cart and have this woman taken to the mortuary.

**Godley:** Yes, sir. Right away, sir.

**SEPTEMBER 9**

**SCENE I**

**Ten Bells**

**NARRATION Pearly Poll:** 'Ere I is at Ten Bells, 'opin' someone will buy me a gin. I 'aven't eaten for days , but at least it's warm in 'ere. I 'ears the bell at the door ring an' this fella comes over all dressed inna cap an' 'is coveralls and 'is bag.

ENTER Man in coveralls

**Man ****in coveralls****:** Evening Miss.  
**Pearly:** Oh, evenin', sir.  
**Man ****in coveralls****:** Fancy a drink?  
**Pearly:** Oh, yes! A gin, if you would.  
**Man ****in coveralls****:** Barkeep! A gin!  
**Barkeep: **Penn'orths a gin comin' up.

_Gin arrives - Pealy gulps it down  
_

**Pearly:** What can I do for you, then? Maybe a little company?  
**Man ****in coveralls****:** Oh indeed?  
**Pearly:** Whatever you want. Cost ya one shilling, though.  
**Man ****in coveralls****:** One shilling is a bit much don't you think?  
**Pearly:** Well that's the offer - take it or leave it. Got to get me bread and lodgin's, I do.  
**Man ****in coveralls****:** Well that seems a bit much, for one shilling I could get two for the night.  
**Pearly:** You can try. But what wiv all these murders, prices are on the rise ...  
**Man ****in coveralls****:** Twelve pennies to a shilling. I hear the going rate is three. Surley you are familiar with the term "thrupney uprights"?  
**Pearly:** One shilling for more than just an upright and that the best I can do! I'll make it worth your while.  
**Man ****in coveralls****:** What about all these killings then?  
**Pearly:** What about them?  
**Man ****in coveralls****:** Can't be good for business.  
**Pearly:** Who are you then?  
**Man ****in coveralls****:** Perhaps I shall take you up on your offer.  
**Pearly:** Wait a sec. Why did you ask me 'bout the killin's?  
**Man ****in coveralls****:** Everyone is talking about it. The police seem to be completely inept at catching the murderer. Hardly surprising, really.  
**Pearly:** An' what's that s'posed to mean?  
**Man ****in coveralls****:** Oh smell a rat, eh? Well foxes hunt geese but they don't always get 'em. Ibid you goodnight.

EXIT Man in coveralls

**Pearly:** Ooooh, 'e's a strange one.  
**Liz:** Who? 'im?  
**Pearly:** That one right there, that one that's just leavin'.  
**Liz:** What he offer you?  
**Pearly:** I fink he offered me a rat.

**Liz:** What! Well, I'm orf to make me earnins'.

**Pearly:** You be careful there, luv. Don't you end up like poor ol' Annie.

**Liz:** Don't you worry bout me. I'll be jus' fine.

**SEPTEMBER 10**

**SCENE I**

**The Establishment of John Pizer -Hatter and Cobbler.**

**Godley:** Well here we are: John Pizer – Hatter and Cobbler.

_Knock on the door... creak as door opens._

**Abberline:** Good morning sir. I take it you are John Pizer and this is your establishment?

**Pizer:** 'S right - who are you?

**Abberline:** I am Inspector Abberline, and this is my assistant, Sergeant Godley. We would like to ask you a few questions. Do you know why we are here?  
**Pizer:** Well I dunno, really. Something bout that leather apron person that's been doin' them murders or somethin. But I didn't murder anyone... didn't even know I was called 'Leather Apron'. Didn't know till three days ago when I read it inna papers. Im just a bootmaker. That's what I do make boots, make hats. But I aint no killer.  
**Abberline:** Shall we talk about the murders, then? You remember Annie Chapman?  
**Pizer:** I know Annie, yeah.  
**Abberline:** Before she got butchered, eh?  
**Pizer:** Got what she got - what should I care? I told ya already - I'm a bootmaker. I aint killed no one!  
**Abberline:** Boots and hats you said.  
**Pizer:** Boots and hats, that's right, sir.  
**Abberline: **You may or may not know that an unfortunate named Polly Nichols was found dead and with a new bonnet. We investigated this and found that you were the one that made it for her.  
**Pizer:** So?  
**Abberline:** Well, if I wanted to kill someone and I wanted to be able to track them, then it would be very easy to track my own work.  
**Pizer:** I wouldn't know. All I do is make the hats. I make hats for those than can afford 'em, even the whores. They got the money they can have a hat. What do I care?  
**Abberline:** And boots - you make boots?  
**Pizer:** That's right cos I'm a cobbler as well.  
**Abberline:** Need an awfully sharp knife to cut through that leather, eh?  
**Pizer:** 'S right - five knives I got. Keep 'em all sharp. But that don't mean that I killed no one. Can't let em get blunt you know - makin' boots and hats. What good is a blunt knife to me? Eh?  
**Abberline:** I suppose so. What about your apron, then?  
**Pizer:** What apron?  
**Abberline:** The bloody apron that you left at the murder site. Tried to wash off the blood and then hung it over the fence.  
**Pizer:** What you talking about? Me apron's right here, where it's always been. I tell ya again, I didn't kill nobody!  
**Abberline:** Godley, do the honours.

**Godley:** Mr John Pizer, you are now under arrest for the murders of Polly Nichols and Annie Chapman.  
**Pizer:** I didn't do nothing. I swear it! I didn't do nothing. How many times I gotta tell you?

**Godley:** If you would please accompany us down to the station, Mr Pizer.

**Abberline:** Got a lovely little cell waiting for you - very cozy. Take him in, Godley.

**SCENE II**

**The Streets – Crowd present**

**George Lusk:** As I have just recently been elected President of the Whitechapel Vigilance Committee - I ask you all to quiet down and hear what I have to say. Quiet down! As you well know, there is a killer on our streets, a killer of women - and what have the police done? Nothing! Nothing I tell you! The requests to Home Office in regard to a reward for the capture if the killer have all been ignored! It is up to us to catch this murderer! To put an end to this butcher's actions in Whitechapel. We shall seek him! We shall find him and capture him! Here light your torches so that the fiend be found in the darkest of alleys! We shall not rest until justice is served! Here! Light your brands! Let us go out into the streets amongst the people of Whitechapel. Remember that the police have done nothing, but Samuel Montague himself has offered one hundred pounds for the capture of this madman!

_Crowd cheers_

**SEPTEMBER 11**

**SCENE I**

**The Streets**

**Sally:** What's this? A notice? "Finding that, in spite of the murders committed in our midst our police force is inadequate to discover the author or authors of the late atrocities, we the undersigned have formed ourselves into a committee and intend offering a substantial reward to anyone, citizens or otherwise, who shall give such informations as will be the means of bringing the murderer or murderers to justice."

**Ostrog:** Hmmmm, hmmm , that's the notice .. hmmm aaaaall around the place hmmmm … you've noticed the notices ..?  
**Sally:** Yes I have. Do I know you?  
**Ostrog:** Na Na Na, not you , don't think ya do… unless you are noticin' more than all the people noticin' the notice are noticin'... hmmmmm  
**Sally:** Do you know anything more about this? (notice)  
**Ostrog:** Yea! Yea! I... hmmmmm... hmmmm...  
**Sally:** What is it you know?  
**Ostrog:** That's the notice.

**Sally:** So, what then?  
**Ostrog:** hmm well you know what happens when people go around putting up notices. Hmmm People notice the notice. And people who shouldn't be noticed are noticed by the people who notice the notice … and then we get noticed.  
**Sally:** That's not good then is it.  
**Ostrog:** Nah nah nah nahh not good, not good …. Hmmm … 's bad. Bad … bad ... bad ... bad … 's bad .. hmmm  
**Sally:** So what do you think should be done about this?  
**Ostrog:** For people not to notice the notice! Or anything else eitha! None of us can be noticed! Hmmm hmmmm mmmm yeeea .. hmm

_Ostrog tears the notice off the wall scrunches it up and then eats it_

**SEPTMEBER 12**

**SCENE I**

**The Streets**

**NARRATION Rave:** I roam the streets, contemplating. Strange... I test the air and indeed, there has been a change! The power within the city, the very dynamics of London have changed. I cannot trace the source of the power shift and decide that it is probably best I make my way to the playing houses to see if I can get some nourishment. As soon as I turn the corner near Hyde Park, I detect a presence - lurking in the sculpted bushes nearby.

ENTER Ostrog

**Ravenos:** Aaark! Master!

**Ostrog:** Hrrrrr grrrrrr...

**Rave:** Make yourself known! Who are you! Come over here - show yourself!  
**Ostrog:** _(growl! GRROWL!)_ Me master, me master he .. he .. he sends me! Hrrrmmm...  
**Rave:** What is your message?  
**Ostrog:** Hmmm He requestes that ahhhh that you .. ahh .. come for the gathering! The Gathering! Aaarrrhhhh yeeees, the gathering.  
**Rave:** Ah, a Gathering.

**Ravenos:** Aaark! A Gathering!  
**Ostrog:** Hmm Yoooou .. you must be there. Yeah, must be there ahhhhh hmm  
**Rave:** When?  
**Ostrog:** Tonight ! Hmmmmmm yea .. must be there hrrmmm  
**Rave:** When? What time?  
**Ostrog:** Tonight! Tonight! Tonight!  
**Rave:** Oh be off with you!  
**Ostrog: **_(GRRROWL!)_ Ahhhhh ah Ahhrrrrrrrrrrr I seen you. Seen you with my eye. Seen you... yeah. Seen you followin' that Jack London.  
**Rave:** What ha...  
**Ostrog:** You! And yer crrrow! You and your crrrow. Aahhhh. Nnnnn.  
**Rave:** Yes? Me and my crow.

**Ravenos:** The crow! The crow! A wolf and a crow! A badger in tow! To the gathering we go! Aaarrrk!  
**Ostrog:** _(growl)_ St Mary's tonight! Must be there. You MUST!

**Rave:** I'll be there. Now be off with you!  
**Ostrog:** _(GROWL!)_

EXIT Ostrog

**SCENE II**

**St. Mary's Chapel**

**NARRATION Sally Gallagher:** With the priest buried and all the rubble cleared as best I could manage, I take out my pack of matches and light four candles, two either side of the altar. I hear a knock at the doors.

ENTER Badger

**Sally: **Please come in. I hope this will suffice.

ENTER De La Croix

**Badger:** Yes, yes this will do nicely for the gathering.Ahh, Madame De La Croix, welcome. Welcome to St. Marys, the sanctuary of my progeny. I wish to introduce Sally Gallagher. May I introduce you, Sally to Madame De La Croix.  
**De La Croix: **Bon Soir, my dear.

**Badger:** She is among the artists of our kind, remember her well and do not underestimate her power.

ENTER De Walt

**Badger:** Welcome Mr De Walt. A representative of the warriors of our kind.

**Sally:** A pleasure, once again, sir.

ENTER Rave Danger

**Ravenos:** Aaark! A gathering! A gathering!

**Rave:** It is I! Rave Danger! To what occasion am I summoned? And you! Miss Sally? I knew this person as a mortal.  
**Badger:** Indeed, but she is mortal no longer. She has shuffled herself off this mortal coil and on to the immortal.  
**Rave:** Ah, she is weak.  
**Badger:** Hold your place in her sanctuary! Show respect! I have called us all together not only to introduce to you my progeny, but to remind us of some of our laws and to discuss these suspicious murders. The streets are no longer safe for our kind. These are events that spawn mobs and hunters!

**De Walt:** And indeed! Mobs have formed! See this! One of the notices from the Whitechapel Vigilance Committee.

**De La Croix:** We. I 'ave seen zis also.

**De Walt:** We do not want to return to the medieval times. You remember how dangerous it was! How so many people called us witches and demons, held us responsible, tortured our kind, killed us! We all remember the Inquisition, and its detrimental effect upon our kind. Madame De La Croix, were you not burned, yourself?  
**De La Croix:**I was burned, we. Eet was most 'orrible. I very nearly perished.  
**De Walt:** The danger grows even more as the age of science dawns upon us, bringing new weaponry and deadly inventions.

**Rave:** I fear this victim cannot be trusted either. I fear that she will be our undoing. She has a strong connection with the cross. Have her morals remained intact, even after her change?  
**Badger:** Indeed they have.  
**Rave:** Will she not feel the need to tell? And help people? Will it not make her want to warn them? How can you prove that you can be trusted? I want proof, now!  
**Badger:** I believe Mr Danger has a point. It would seem that the time has come for you to prove yourself, young Sally. Are you ready to prove your loyalty?  
**Sally:** I believe that I am.  
**Badger:** Very well. This is my progeny and I present her to you. We shall now conduct the trial by blood. As I draw my blood forth and let it flow into this vessel, I give of my power and demand true witness.

**De Walt:** I draw my blood forth and let it flow into this vessel, I give of my power.

**De La Croix:** I draw my blood forz and let eet flow into zis vessel, I give of my power.

**Rave:** I draw my blood forth and let it flow into this vessel, I give of my power.

**Badger:** Sally, drink.

**NARRATION Sally Gallagher:** I accept the cup from Badger and take a few swallows of the blood inside. The sensation of immense power flows through me! Flashes of other lives, new knowledge and experiences enter my mind and course through my veins till they merge with my being.

**Badger:** And now, I charge you all - drink and speak the truth! Is there one among our number who is the killer of these women? Sally, are you the killer of these women?  
**Sally:** No, I am certainly not.

**Badger: **Rave Danger, are you the killer of these women?

**Rave:** I drink and speak truth. I am not the killer of these women.  
**Badger:** Mr De Walt. Are you the killer of these women?  
**De Walt:** I drink and speak truth. I am a warrior not a murderer. I am not the killer of these women.  
**Badger:** Madame De La Croix. Are you the killer of these women?  
**De La Croix:** I drink and speak ze truth. Never would I take ze lives of zose I prey upon and leave zem so terribly mutilated. Zis is a tragedy, a terrible tragedy. I feed amongst ze mortals, adding zeir lives to my own. Zeir memories preserved for all eternity. Never could I lower myself to such barbaric grievances.

**Badger:** I am not the killer of these women, either. Therefore we have someone in our midst in Whitechapel, disturbing our hunting grounds, disturbing our peace, disturbing our way of life! I would hear what you would all have to say and as to what we should do, the actions that we should take to keep our secrets safe. I would ask Madame De La Croix, one of the eldest and wisest of our company to speak first.  
**De La Croix:** Perhaps eet iz someone from ze upper-class. Eet seems zat no one is considering zis.  
**De Walt:** What evidence of this do you have?  
**De La Croix:** Evidence? No. We shall know 'im when we see 'im.

**De Walt: **When we see him! By then it may be too late! We shall have mobs throughout the city! You know what these mortals are like once they are frightened!  
**Badger:** Thank you for your input, Madame... Mr De Walt, I know this puts us all at risk but please calm yourself and think rationally. Have you any idea as to the identity of the murderer?

**De Walt:** Someone of the poor class perhaps, a butcher. These are not the wounds that a warrior would inflict, but rather those of a hunter. 'Tis why he preys on the unfortunates - perhaps thinking they shall be of no consequence.  
**B****adger****:** Perhaps. But why? And you, Mr Rave Danger. What are your thoughts as to this matter?  
**Rave:** I have my suspicions. The mortals have no idea as to the identity of this murderer. I have spoken with them and they know nothing. If it is someone of the upper-class, perhaps they have an interest in the occult, as I sense greater summonings than this in the filthy air of Whitechapel.  
**De La Croix:** What makes you believe such a zing?

**Rave:** I sense a shift in the energies of this city. It will not be too long before the stars align to form a conjunction. When that happens it will be a time of great power. Perhaps these murders are part of a sacrificial ritual.  
**De La Croix****:** Zere may also be some mortal sexual fantasy involved.  
**Badger:** Perhaps, perhaps. It is not unheard of...

**De Walt****:**Consider the precision of the cuts. It seems to me that we are either dealing with a butcher or a surgeon. Or at least someone with a knowledge of human anatomy.  
**Badger:** Why would a surgeon be killing unfortunates?  
**De Walt:** Curiosity perhaps. After all, they are only mortal.  
**Badger:** A possibility. But why murder women openly in the city? This is very strange.

**Sally:** Perhaps I can be of some assistance...  
**Badger:** Sally, please tell us what you know.  
**Sally:** I have spoken to Inspector Abberline recently. The police have arrested someone known as 'Leather Apron'. A hatter in Whitechapel.

**Badger:** I have heard of this Leather Apron. I believe him to be otherwise known as John Pizer, hatter and cobbler. The last time I saw him was at Ten Bells. I seem to recall you being involved in that incident, Mr Danger, were you not? And did you not break our ages old code of conduct? Never allow the mortals know our true nature - nor our powers, lest we risk extinction.  
**Rave:** It is all part of my act.  
**De Walt****:** You fool! How many people saw you? How many people saw you use your powers right in front of them?

**Badger:** Please be calm, Mr De Walt.  
**Rave:** I am believable. I have taken care of this matter.  
**De Walt****: **How?

**Badger:** Sally, you were also there, were you not?  
**Sally:** I was.  
**Badger:** Did you not see Mr Danger disappear in front of John Pizer and re-appear behind him?  
**Sally:** Yes, I did. Faster than the eye could see. Only now do I understand how he was able to do such a thing.

**Badger:** And would you say that most of the patrons at Ten Bells that night witnessed the same thing?

**Sally: **Yes. Even Inspector Abberline was talking about it.  
**Badger:** And so you say you have solved this problem? I think not Mr Danger. I too was present at this incident and had to remove the memories of a one Jack London, a most credible reporter.

**De Walt:** You have put us all at risk! You must face punishment! We here will decide this punnisment. We cannot allow ourselves to be put at such risk, especially at a time like this! Or would you rather burn at the stake, like your forefathers did?  
**Rave:** There is no need for this.  
**Badger****:** I am sorry, Mr Danger, but I believe there is.

**De Walt:** And don't try any of your mind tricks on us, my friend, for we are all your peers. Your punishment will be a reminder that such indiscretions shall not go unheeded, but be dealt with swiftly. The lesson is as much for the young one as it is for you.

**Badger:** Aaaah! What's this? Upon the floor. Aaaah! Holy water from the font. Sally! I believed you had dealt with this.

**Sally:** I tried to soak it up with the curtain from the confessional.

**De Walt:** I have an idea... Badger... _(whispers)_  
**Badger:** I get your meaning, Mr De Walt. Yes, indeed. A judgment has been cast.  
**De La Croix:** You want 'im to walk across ze holy water?  
**Badger:** Not quite. De Walt, take your cane and let us gather up this curtain.

**De La Croix:** Zis would be fitting. I indulge it.

**Badger:** We shall lift this curtain upon you Mr Danger. This is your punishemnt - endure it as best you can and be reminded of our laws.

**NARRATION Rave Danger:** They think they have me and perhaps they have, but little do they know I have my secret potion, and although I know not what it does, I quaff it as they place the holy burning cloth upon my person. It burns me! Oh how it burns! I'll show them no quarter! How they will all pay for this insolence!

**Ravnos:** Aahhh! How it burns him! How it burns! Water like fire! Aaark!

**De Walt****:** Quite an easy punishment this time - count yourself lucky that we are so forgiving. Any other age we would have burned you with fire for your crime.  
**Rave:** Th-There shall be no more problems from now on. I swear it.  
**Badger:** Your punishment is over. I leave you all with a warning, for this city has become a dangerous place for us. Do not reveal our natures to anyone. Be extremely careful how you feed. Be ever watchful. This gathering is now concluded.

_The doors to the cathederal are opened and the vampires leave, only Sally and Badger remain._

**Badger:** I think you will find that you have many more powers now that will not fade with time, Sally. They are there forever. I would bid you goodnight and I will see you again soon. I thank you for providing this venue for our gathering.  
**Sally:** Thank you, master.  
**Badger:** Au revoir!

**SCENE III**

**The Streets**

**NARRATION Rave Danger:** As I leave, I feel this strange potion coursing through my body. I ever so gently prick my finger and draw in my own blood, a symbol, a hooked ankh, and thus, by virtue of my blood I shall know when Sally comes and goes from her sanctuary. As I finish, I hear a large commotion coming down the street. It is a crowd and they bring with them fiery torches, thirty, perhaps forty people. Is this the Whitechapel Vigilance Committee?

I quickly merge into the shadows, but this potion seems to be coming into effect. My bones and my form begin to change. I feel stronger, but I feel I am losing control of my mind... They are getting closer... the urge.. the urge... My body contorts in pain! What is this? I am becoming deformed? A massing of great strength, but... THEY ARE UPON ME!

**Man with torch:** AHH! Away from me, killer!

**Rave:** AHHHHH! FIRE! I am alight! I BURN!

_Rave's facade drops._

**Man with torch:** GODALMIGHTY! His FACE! A monster! Here! Quickly! Hurry! He escapes!

**NARRATION Rave Danger:** I have no choice but to run into an alley. I must find a source of extinguishment! The Alchemist's! The flooded Alchemit's! I cannot help but use my powers to run faster than the eye can see and smash down the door to the laboratory and dive into the filth flooding up from the sewer. For a second I believe I have reached safety, till the flammable gasses catch alight and the whole sewer becomes a great inferno and I have no resort but to dive down into the filthy water.

I do not know where I am. The sewers? I need blood. Blood! I sense it. There! At the opening. A human. Blood. The calling of the Blood.

_Rave murders a leper in the sewers with lots of growling and screaming._

**SEPTEMBER 17**

**SCENE I**

**The Streets**

**NARRATION Pearly Poll:** I wakes up jus' when they undoes the ropes that hold us upright inna hard wooden pews of the lodgin' 'ouse. I feel too weak to move very much, I don't fink I get to Ten Bells by meself.

I still gots that shiny shilling I found last night. Or was it the night before? Don't rightly remember... still, I better gets on me way. I'm 'avin' real trouble standin' so I leans up 'gainst a lamp post, all 'round me there is more people worse orf than me. Some can't even move and they all just lay 'bout onna side of the street inna cold anna muck. Maybe if I can get to the road... Is that a cart or somefin' comin' by?

_Sound of horse and cart on cobblestones_

**Pearly:** 'Allo sir! Sir! Wouldn't mind givin' a poor lady a lift then, sir? 'Avent 'ad no food in days... Oh, go on. Give a lady a lift...  
**Man:** Where you off to?  
**Pearly:** Just off down Whitechapel Road, sir...  
**Man:** All right. Get on.

**Pearly: **Oh, fank ya sir! Fank ya.

ENTER Crowley who jumps up on the cart

**Crowley:** 'Allo!  
**Pearly:**_(suspicious)_ 'Allo, master Crowley. You got any bread in your pocket then?  
**Crowley:** Not likely, miss.  
**Pearly:** Got anything in them pockets of yours?  
**Crowley:** Not likely miss, and even if I did, I wouldnt be telling you.  
**Pearly:** 'Avent you got any charity in that little 'eart of yours? Didn't your muvver never tell you to be charitable to young ladies that aint feelin' too well?  
**Crowley:**_(__L__aughs)_  
**Pearly:** Well, be orf with ya then, if ya aint got no charity! Your parents ought to 'ave taught you better manners!  
**Crowley:** What's it to you about my parents? What's it to you if I even got any?  
**Pearly**: Look, I'm not gunna argue with ya. Ain't been feeling too well today ...  
**Crowley:** Well that's a shame. Won't be getting any lodgings looking like you are, will ya?  
**Pearly:** I'll get to Ten Bells an' 'ave a feed an' I'll be right, don't you worry! You just worry about yourself! What do you know about Whitechapel anyways? 'Ow long you been 'round 'ere?  
**Crowley**: I been 'round here all me life, and I'll stay round as long as I like, miss. I knows all the tricks you see, knows all the tricks. Got magic up my sleeve, I do.  
**Pearly:** Oh, do ya now! Go on then, magic us up a bitta food if your so magical!  
**Crowley:** _(Laughs)_ My magic is for me only. Not for old hags like you. You'll be ne next victim, just you see.  
**Pearly:** Whatta ya mean, next victim?  
**Crowley:** Oh, don't you know about the murders?  
**Pearly:** I don't care bout them murders.  
**Crowley:** Don't you now? Well, that's funny, coz every one else seems to.  
**Pearly:** Who would wanna touch me? Lookin' like I am all dressed in rags... haven't eaten in days...  
**Crowley**: You obviously didn't see any of the other victims, did you?  
**Pearly:** I did!  
**Crowley**: All ugly old hags, they were!  
**Pearly:** I knew 'em! They were me friends!  
**Crowley:** Thought you said you didn't care.  
**Pearly:** 'S right! I don't - nowdays you dont look after yerself first then you're as good as dead!  
**Crowley: **Guess you're right. You gotta look after yourself! Im off then!

EXIT Crowley

**Pearly:** Oi! Me purse! Gimme that back 'ere, you! Oi! Stop! Feef!

**SCENE II**

**Ten Bells**

**NARRATION Pearly:** Damned feef! Pinchin' orf wiv me purse! Penniless again. I can only 'ope that some kind soul will buy me a drink and maybe sumfin' to eat. The cart goes past Ten Bells an' I shuffle myself orf my perch and lose me balance, fallin' face first into the streets. Getting up slowly, I dust meself orf as best I can and stagger into Ten Bells where I sees Inspector Abberline sitting all by hisself at the bar.

**Pearly:** 'Allo, Inspecta.  
**Abberline:** Pearly.  
**Pearly:** Any chance you could buy a lady a plate of stew? 'Avent 'ad any food for days an' I'm feelin' all weak and all. Way I'm feelin' now, I fought I better go to the infirmary, but I fought I might see you 'ere.  
**Abberline:** Very well. Plate of stew and a gin for the lady.

**Barkeep:** Comin' up, sir.

**Pearly: **Oh, Gawd bless ya, Inspecta!

_The stew arrives and its a disgusting stringy old meat broth mixture. Still, Pearly eats the whole lot as fast as she can. Sounds of a spoon clinking against a plate. When she has no more broth she mops up the rest with a chunk of bread. She then slams down the gin._

**Pearly:** Ahhh. I feels a right shade better now, Inspecta!  
**Abberline:** I'm glad you came in, Pearly. Seems we got that Leather Apron fellow.  
**Pearly:** Oh! Oh, you mean that man that murdered all me friends? _(sob sob)_ That man that what done it? _(sob sob sob) _  
**Abberline:** Have another gin, Pearly. We have you to thank for that really. If we hadn't known bout that bonnet, we may never have found him.  
**Pearly:** That makes me feel so much better, you know... Real relief that this is finally over.  
**Abberline:** We all hope so, but that's really only if that bonnet really did come from Pizer.  
**Pearly:** Definitely. Definitely, it did! Jus' be good to put an end to all this. Can't 'ave ladies getting their guts spilled out all over the streets like we have! You know what I mean? Ladies that are tryin to earn a livin' getting cut up into billions and billions of bits all over the place!  
**Abberline:** This isn't the colonies, Pearly. It just took time to catch this one, you know.  
**Pearly:** Well, ' least you did. Least you did, Inspecta. Oh! I don't feel too well... There's a pain in me guts...

_Sound of vomiting_

**Barkeep:** Oi! Not again! Get her outta here!

**Pearly:** Don't know what it is, Inspecta! I fink I might need to go to the infirmary after all.

**Abberline: **I'll help you get there. Come on.

_Sound of chairs shifting as Abberline hauls Pearly upright_

**SCENE III**

**The Infirmary**

**Abberline:** Just lie down here, Pearly. Easy, now.

**Pearly: ** I'll be alrigh' Inspecta... I'll be ..

_Sound of more vomiting_

**Abberline:** Lie down Pearly, you need to rest.

**Pearly:** I'm alrigh'... maybe a gin will set me right...

**Abberline:** Goodnight, Pearly.

_Footsteps_

**Sickert:** Good day. Good day. You wouldn't be Inspector Abberline, by any chance, would you?  
**Abberline:** Yes, I am.  
**Sickert:** Oh, jolly good. What sort of information do you have about those murders, old chap?  
**Abberline:** Im sure you can find out at the inquest tomorrow.  
**Sicket:** Oh, there's to be an inquest tomorrow? Well, I might see if I can't go and do some sketching. Inspector Abberline, may I introduce myself. Walter Sickert. Pleasure to meet you, sir. You, ahh, may have heard of me, I am an artist. Studied under Whistler.  
**Abberline:** Yes, the name does ring a bell. What brings you to Whitechapel?  
**Sickert:** I always come down here to sketch people in the infirmary. Gives me ideas, keeps my talents up to scratch. Surely if you have seen some of my work you will know that I base quite a few of my studies here.  
**Abberline:** Would you mind? _(nods to sketch pad) _  
**Sickert:** Oh not at all! Please take a look. That particularly ugly one over there is my pride and joy, and that one over there with this great tumour on the side, amazing don't you think, Inspector?  
**Abberline:** Well, that's one way of describing it.  
**Sickert:** I prefer the ugly ones. All the other artist can have all the beautiful models. Leave the degredation of society to me.  
**Abberline:** I see. I had best be getting back to my duties. Good day, Mr Sicket.  
**Sickert:** Good day to you, Inspector, and good luck with the inquiry.

EXIT Abberline

**SEPTEMBER 18**

**SCENE I**

**The Courtroom**

**NARRATION Jack London:** September the 18th. The court case of John Pizer, also know as 'Leather Apron'. The Judge wearing the ceremonial wig enters the courtroom and all stand. The crowd again breaks into loud conversation as the accused is brought forth, the court artist sketching the man as he takes his place in the stand. The Judge takes up the gavel and bangs it hard on the bench as I clean my spectacles with my kerchief.

_bang bang bang_

**Judge:** Order! I call this court to order! John Pizer you are called before this court for the murder of Polly Nichols on the 31st of August and the murder of Annie Chapman on the 8th of September 1888. How do you plead?

**Pizer:** Not guilty your honor. I never killed no one.

_crowd murmurs non approval._

**Judge:** Order!

_bangs gavel_

**Judge:** Inspector Abberline, if you please.

**Abberline:** John Pizer please state for the court your occupation.

**Pizer: **I'm a hatter and cobbler sir.

**Abberline:** You must need certain tools to be a hatter and cobbler, must you?

**Pizer:** Well yessir.

**Abberline:** Amongst these tools you would use a knife, would you not?

**Pizer:** Yes I do.

**Abberline:** Would you care to describe such a knife?

**Pizer:** Well, mostly I use one about about this long, with a narrow blade to cut the leather and the felt...

**Abberline:** And you keep it sharp, do you not?

**Pizer:** Of course I do. Can't cut nuffing with a blunt knife. I already told you.

_crowd murmurs_

**Abberline:** The wounds on the victims body suggest that a knife very like the one Mr Pizer has just described, was used to inflict them, having a long narrow blade of approximately nine inches.

_crowd murmurs in agreement_

**Pizer:** But..

**Judge:** Order! Please continue, Inspector.

**Abberline:** Thank you your honour. Word has it that you are named "Leather Apron". Is this correct?

**Pizer:** Yes sir it is, but I didn't...

**Abberline:** Why would that be so Mr Pizer?

**Pizer:** What? Well I spose coz most of the time I'm wearing one. It protects against cuts and staining.

**Abberline:** I would like to draw your attention to this leather apron found at the scene of the murder of Annie Chapman. Would like happen to be an apron like yours, Mr Pizer?

**Pizer:** Well yeah, but...

_crowd murmurs loudly_

**Pizer:** (_shouting)_ But it ain't mine! It ain't mine!

_bang bang_

**Judge:** Order! Order I say!

_crowd quietens_

**Abberline:** You are a hatter, you say. Polly Nichols was wearing a new bonnet at the time she was killed, a bonnet that you apparently made for her. Is this the bonnet, Mr Pizer?

**Pizer:** Yeah, that's the one. She wanted a Paris style.

**Abberline:** Were you paid for this hat?

**Pizer:** Uh..well... after a fashion...

**Abberline:** What do you mean by that?

**Pizer:** Well she bein' what she was and all, could only afford half the price so... well, she offered her services to make up the difference.

**Abberline:** So I take it you agreed to this offer?

**Pizer:** Yes sir, I did, but she never come back.

**Abberline:** No she did not. In fact she was murdered that very night! Did you find her and take what you thought was owing, Mr Pizer?

_crowd shouting_

**Pizer:** (_shouting)_ I never did! I never!

**Judge:** Order!

_bangs gavel until crowd gradually reduces to a loud murmur_

**Abberline:** Then where were you on the night of August 31st Mr Pizer?

**Pizer:** August 31st? Why I was helping to put out the fire at Shadwell Docks, I was!

**Jack:** It's true!

_crowd falls silent_

**Abberline:** What?

**Jack:** It's true! I saw him there.

**Abberline:** Are you sure, man?

**Jack:** Yes. Yes, I am. This John Pizer was the man next to me. I passed on the buckets of water directly to him in the water chain. We were there till dawn, we never exchanged names though and I was just cleaning my spectacles and did not recognise him till now.

_crowd murmurs in chaos_

**Judge:** In light of this new witness, I hereby dismiss the charges bought against John Pizer, known as Leather Apron. This court is now adjourned!

_bangs gavel and crowd dissipates_

**SCENE II**

**The Museum**

**NARRATION Rave Danger: **I wake! I sense that many nights have passed since my fiery ordeal. Still, I feel weak. Climbing out of my coffin I find that my hands are still burned, one arm almost immobile from the elbow down, I dare not even think abut the state of my face! I feel contorted. With much effort I manage to open the book of the Alchemist and begin to read of it, and it reads thus:

"For many weeks now I have been working the potion, as I draw ever closer to perfecting the formula I have become daring and have tested it on myself. The fist few attempts were unsuccessful but I hold high hopes for this new batch. The new batch was indeed a success, but with horrendous side effects! Firstly, the body contorts to the point where one would think death imminent. However, what occurs next is even worse. Whilst the body becomes strong the mind weakens, almost to a primitive state, with very little thoughtsave to destroy! It has become worse than I have ever imagined - and although I cannot recall the events which took place under the influence of the potion, of this devilish potion, I regained my senses only to find that I have killed my wife and only son! The potion was an utter failure! And I am forever damned! I shall leave this city never to return."

As I close the alchemist's ledger, I think on how this potion has affected me, but then! My nose! It has fallen from my face! Has my condition worsened so that I must fall to pieces? Or was it perchance... ah, the memory returns. Can it be that in my temporal insanity caused by the potion and the fire, that I have somehow fed upon a diseased victim? Surely not a leper? Oh woe is me! For nothing shall save me now lest I drink the blood of the supernatural or find the one that may release me from this bodily prison and set my life anew. London! Jack London is the key... But what is this? Sally has crossed the sigil. Her blood can heal me.

**Rave:** Ravenos! Seek out Sally and lead her back here to me!

**Ravenos:**Aaark! As you command, Master! Aaark!

**SCENE III**

**Rooftops**

ENTER Sally

**Badger:** Ahh, Sally. Come, join me. Very disturbing this Vigilance Committee don't you think? Yes. I can't help but feel concerned. A lot of fire down there, a lot of angry people... searching... searching for killers.  
**Sally:** It's terrible, all this suspicion. A newspaper reporter has recently published an article about some horrendous apparition. Do you think they may have seen one of us?  
**Badger:** Oh yes, yes. What was it they called the article? The Nemesis of Neglect. Most interesting, most amusing. But, this concerns me somewhat. It seems that this may have been sparked by an incident which is more than what it seems. Although it would also seem the mortals have taken it in their stride. Anything more and we may all be discovered.  
**Sally:** That would not be good then, would it? They are almost like animals flocking together for protection.

**Badger:** Animals eh! It is just a thing that humans and other animals do, is it not? At times they prey on each other just as we prey on them. Sally, tell me, have you been to a service or contacted the Salvation Army office?  
**Sally:** No.  
**Badger:** No? And why is that?  
**Sally:** I just have this feeling that I don't belong there anymore.  
**Bager:** Indeed that is precisley the case. Yet, what will you do with this gift I have bestowed upon you?  
**Sally:** I don't quite understand sir.  
**Badger:** Have I not given you the gift of potential? And how do you intend to use this gift? How have you thus far used this gift? Judged a man you did not know and tore out his throat. Is this how you enact God's will? Do you think yourself the very hand of God?  
**Sally:** Have you not given me such power? To choose who would live and who would die to cleanse this unholy place of those that defile the sanctity of this city and all of God's earth!  
**Badger:** Ahh, the path of God. Such wars had been fought in his name, such bloodshed, such crimes. Such crimes as we have perhaps recently observed. Think on that Sally. Will you also become a murderer in the name of God? A gentleman once said to me "God is dead and the devil rules us all, it's a puzzle to solve."  
**Sally:** The devil only rules those who let themselves be ruled!  
**Badger:** Yes indeed, I see maybe you have solved part of this puzzle already, but keep that in mind for the rest of your existence. For it is the devil you battle, it is the devil who we all battle, and you may meet him on certain grounds that you may not yet be prepared for. 'Tis a step forward to become a savior of men and a step backward to become a killer of men. Be ever mindful of that.

EXIT Badger

**NARRATION Sally Gallagher:** Then Badger seemed to dissipate with the London fog into the moonlight, leaving me to my thoughts. I hear the beating of wings, distant in the air and search with my eyes, quickly making out the form of a crow against the darkened sky.

**Ravenos:** Aaark! Follow!

**SCENE IV**

**The Museum**

**NARRATION Sally Gallagher:** Having followed Rave Danger's crow back to the museum, I find the back door locked. Using my supernatural strength I attempt to pull the door off its hinges, but soon find that this is useless. I shall attempt to break through this door using all the strength that has been given to me. Feeling the potent vampiric blood coursing through my veins I launch a punch at the door!

_Sound of breaking bones against wooden door and she screams with pain_

My arm! I have have smashed it beyond repair! My knuckles having impacted with my wrist and my wrist smashing into my elbow! Must I be crippled for the rest of my existence now? But wait! I feel the flesh of my arm begin to reconstruct, and indeed before my eyes I see my bones heal and repair, tendons stretching, flesh regrowing. What an amazing sight! It seems I have much to learn of this vampiric body. Focusing on the door once again I being to see a glowing sigil, knowing now that the door is protected my some sort of magical ward, I think it best to be civil.

I knock and the door swings open.

**NARRATION Rave Danger:** A visitor eh? Come in, come in, and I shall conceal myself behind the statue of Anubis and fool you with my powers of ventriloquism.

**NARRATION Sally Gallagher:** I cautiously enter into the chamber beyond. I see a large display room that has been set up for an Ancient Egyptian theme. It contains boats of reed and sarcophagi and amongst the old world treasures three massive statues. One of Set, one of Thoth and one of Anubis.

**Anubis:** Who enters my domain? I am Anubis god of the dead.

**Sally:** Is that so?

**Anubis:** Any who pass before me must make an offering.

**Sally:** And if I refuse?

**Anubis:** Then I shall consume your soul and send you to one of the nine Hells!

**Sally:** You may show yourself now Rave Danger. Your crow has led me to you. I wish to speak with you. Good heavens! What has become of you?

**Rave:** A... rather unfortunate series of events have left me somewhat ... incapacitated. Thanks also in part to that small show of power at your chapel. I must say, I have been invited to fewer parties with less entertainment than the last one.

**Sally:** Do so enlighten me sir.

**Rave:** Aside from these recent events, I should have you know that I have this – condition. Every one hundred years, to be exact, my vampiric body ages at a rate ever increasing, and I must find another body in which to exist. My visage becomes ancient, my eye sockets hollow. The only way I can even appear human is by illusion alone. As I draw closer to the end of my cycle, I can no longer heal using the blood of humans alone, especially after such damage as I have endured. I may only survive from the blood of another immoral, lest I die and return to dust.

**Sally:** Do I take take it you require my blood with which to survive?

**Rave:** Indeed it is so. I beg of you this.

**Sally:** Very well, I shall, but know this, Rave Danger, I do not do this out of the goodness of my heart, but because you shall be henceforth in my debt. Remember this.

**Rave:** I shall take it graciously and do recant my hasty words against you.

**NARRATION Rave Danger:** The girl slices her wrist using one sharp nail and offers it to me, perhaps this is a foolish thing to do but who knows how long till another oppotrunity presents itself. I drink feeling my body absorb the potent vampire blood. Already I feel myself begin to heal. 'Enough' I hear her say and force myself to cease. Almost instantly, the arm that was paralysed is mobile again and I feel my dry and crackled skin return to a state of normality.

**SEPTEMBER 25**

**SCENE I  
The Residence of Oscar Wilde**

**NARRATION Abberline:** I recived an invitation to the party of a certain Mr Oscar Wilde. I daresay this will be a welcome relief from my duties at Head Office. Elegant company, good food and hopefully no talk of these murders.

**Oscar:** Inspector Abberline! Mr London. Good evening. May I take your coats and hats, gentlemen?

**Abberline:** Yes, thank you. A pleasure to meet you, Mr Wilde.

**Jack:** Thank you.

**Oscar:** So glad you could join us. Mr London, most marvellous to have your company this fine evening. I always like to know everything about my new friends, and nothing about my old ones. May I offer you both some refreshments? Scotch, perhaps?

**Abberline & London:** Yes, thank you.

**DeNeuve:** Oscar, dear. Wonderful vintage you've chosen. Oh! Who have we here?

**Oscar:** Marquise DeNeuve, may I present Inspector Abberline and Mr Jack London, from the Star.

**DeNeuve:** Oh delighted, delighted.

**Oscar:** Your drinks, gentlemen.

**Abberline:** Thank you.

**Jack: **Thank you, sir.

**Montague:** Ah! Inspector Abberline. What a pleasure to see you here! A moment if you will.

**DeNeuve:** Mr London, would you care to walk with me?

**Jack:** My lady.

**DeNeuve:** Right this way, I wish to introduce you to someone. Madame, if you have a moment, may I introduce Mr Jack London from The Star. Mr London, this is the exceedingly beautiful Madame De La Croix, recently arrived from Paris.

**De La Croix:** Meester London.

**Jack:** Madame, an honour.

**DeNeuve:** Once again, Madame, you are the most radiant of the party. I have met you on no less than four occasions now - you never seem to age a day. You simply must tell me your secret.

**De La Croix:** Per'aps I shall, one of zese days, my dear.

**Sickert:** Pardon me, I don't believe we've met. Walter Sickert, at your service.

**DeNeuve:** A pleasure, Mr Sickert. This is Madame De La Croix. And Mr Jack London from the Star.

**De La Croix:** And zis is ze Marquise DeNeuve, recently arrived from Vienna.

**Sickert:** An honour. Ladies, Mr London.

**DeNeuve: **Come Mr London, there is someone else I wish you to meet.

**De La Croix:** I 'ave seen some of your work, Meester Sickert. You are a painter, are you not? You were once Whistler's apprentice.

**Sickert:** That is correct. You have seen some of my paintings?

**De La Croix:** Your subject matter of deformed people somewhat disturbes me, but also intrigues me.

**Sickert:** Beauty is in the eye of the beholder. I often garner sketches at the Whitechapel infirmary. No-one ever paints the real people. They only paint what they perceive as beauty.

**Oscar Wilde:** Aaaah! Beauty is a form of genius, it is higher, indeed, than genius, as it needs no explanation. It is of the great facts in the world, like sunlight or springtime, or the reflection in a dark water of that silver shell we call the moon. I find that every portrait that is painted with feeling is a portrait of the artist, not of the sitter.

**De La Croix:** I see your point, Meester Wilde.

**Oscar:** Indeed, Madame. Yet, I am not young enough to know everything.

**De La Croix:** _(laughs)_ So true, my dear Oscar. I see zat your fingers are still stained from your work, Meester Sickert.

**Sickert:** Yes. I often sketch in ink, and it is a damned nuisance to get off one's hands.

**De La Croix:** I find your choice of colours very interesting. Ze subtle shades and ze use of light and shadow.

**Sickert:** Why, thank you, Madame.

**Oscar:** If you would both excuse me momentarily...

**De La Croix:** Certainly, dear Oscar.

**Oscar:** Ah, Inspector. I see that you have already met Sir Montague.

**Abberline:** Indeed I have.

**Montague:** The Marquise DeNeuve. An absolute pleasure to see you again.

**DeNeuve:** And you also. Samuel, might I present Mr Jack London.

**Jack:** A pleasure to make your acquaintance, sir.

**Montague:** Mr London! I have been following your reports in the newspaper. The Star, is it not?

**Jack:** Yes, indeed it is.

**DeNeuve:** Shall we refill our glasses, Inspector? Oscar?

**Oscar:** Yes, indeed. I find that the consumption of large quantities of alcohol has all the side effects of getting drunk.

**DeNeuve:** Gentlemen, if you would excuse us.

**Montague:** Fine evening, eh what, Mr London? Desperately good food and scotch, but the old gout seems to be playing up a bit. Always enjoy a good party and this man certainly knows how to invite a strange mix of guests. The Inspector - a bit straight-faced if you ask me. And you, Mr London! I have been following you writings in The Star quite religiously.

**Jack:** Oh, you have - that's wonderful.

**Montague:** Rather a grim picture you paint of the Whitechapel area - not too surprising really, considering all those ghastly murders. Eh, what?

**Jack:** Yes, ghastly...

**Montague:** I have put up one hundred pounds reward for the capture of this killer - that ought to do it don't you think? Apparently, Sir George Lusk of the Whitechapel Vigilance Committee requested a reward to be put out from Home Office, but it was refused.

**Jack:** So I was informed. I take it you have met Madame De La Croix and Mr Walter Sickert?

**Montague:** Sickert? I have heard say that he has strange dealings with a mystical cult. Those Golden Dawn people. Had a run-in with them once before. Found them to be a bunch of lunatics thinking they can talk with the dead and conjure up spirits, and all that nonsense. One of them told me about this gargoyle statue in the old Roman catacombs beneath the very streets of London. Ha! If it really does exist, I'm looking to get an expedition together to retrieve the item and place it in my rose garden on the estate. Make a jolly good talking point, don't you think, eh what? Could be part of the old fountain if the look is right. That should impress the ladies! You interested perchance? Eh, what?  
**Jack:** Ah, not particularly.

**Montague:** No? Well, never mind then. Had a dance and a snog with that french madam, De La Croix. She knows a few tricks, I can tell you. Ha! The Marquise DeNeuve certainly does have a nerve, eh, what! Ha! - thats a good one!

**Jack:** Ah... indeed, if you would excuse me.

**Montague:** Yes, yes of course. Oscar! Oscar old chap... Save some of that scotch for me, eh what?

**Emmett:** Abberline? Inspector Abberline? That is you isn't it?  
**Abberline:** Yes, it is.  
**Emmett:** _(enthusiastic handshake)_ Professor Emmett! Yes! Yes! Pleased to meet you Inpector! Yes! Pleased to make your acquiantance! I must tell you of my new invention to catch the killer. You have seen my previous inventions, yes? The automated cricket player?

**Druitt:** Ah, the automated batter, yes, I have seen it.  
**Emmett:** Yes, yes, you have, Mr Druitt!

**Druitt:** But of course it can never really take the place of a batsman.

**Emmett:** But you saw it hit the ball out into the field! You saw it! My invention. Yes! I used springs for that - quite clever, you see.

**Druitt:** Perhaps, but as he was static, in the end he was quite easy to bowl out and unable to run to the next crease.

**Emmett:** Well, it was only meant to protect the wicket. However, this new invention, a similar concept - but for a different purpose.

**Abberline:** So, what is it?  
**Emmett:** Based on my original design, the mannequin would be dressed as an unfortunate. Then, when the killer approaches and tackles her, like so... in order to kill her, these large springs spring out of the arms... entangling the killer... like this... and there you have it!

**Druitt: **Do you really think that will work?

**Emmett:** Well, with a few modifications, perhaps, I'm sure it will! And I'm sure I shall have that hundred pounds from Sir Samuel Montague - see if I don't! Haa Haa!

**De La Croix:** Inspector.

**Druitt:** Ah, Inspector Abberline, Madame De La Croix.

**Abberline:** An honour, Madame.

**De La Croix:** Walk wiz me, Inspector and tell me about your progress wiz zese terrible murders.

**Abberline:** Ah, the topic I was so desperately trying to avoid this evening. It seems that I might have to search the entirety of Whitechapel at our current rate.

**De La Croix:** 'Ave you considered zat eet may be someone from ze upper-class?

**Abberline:** What makes you say such a thing?

**De La Croix:** Well it seems to me zat the upper-class sometimes visit Whitechapel for one reason or anozzer. 'Ave you considered zat ze killer may be per'aps, a surgeon?

**Abberline:** A surgeon?

**De La Croix:** From what I 'ave been reading in 'ze Star, it seems zat ze wounds were caused by a sharp knife, were zey not? And zen zere is also ze fact zat some of zem 'ave 'ad zeir organs removed. 'oo but a surgeon could 'ave enough of an understanding of 'uman anatomy and ze necessary equipment to be able to extract ze organs?

**Abberline:** I shall certainly take this into consideration. I had a notion that it may have been a butcher, or a barber-surgeon perhaps. However, considering a member of the gentry should not be excluded.

**DeNeuve:** Enjoying the party, Inspector?  
**Abberline:** Yes, indeed, Madame DeNeuve. It makes for a pleasant change of scenerey from the station.  
**DeNeuve:** I have been reading about these murders within the Whitechapel district that Mr London has been describing with such detail in the Star. I was wondering if you could tell me a bit more about this?  
**Abberline:** Hrrmmm. It seems inevitable that I shall fail to avoid the topic.  
**DeNeuve:** You must understand, dear Inspector, these parties are my only real chance to speak with people who know what's going on in the streets of Whitechapel. I find it most frustrating when no one will discuss these matters with me, when it is all I want to hear. So please, Inspector, tell me everything.  
**Abberline:**_(clears throat)_ Well, it sounds to me as though you know of the three victims so far?  
**DeNeuve:** Yes, I do. Do you not think that it is a little strange to kill these 'unfortunates' so elaborately?  
**Abberline:** You're quite right there. I do have a few theories.  
**DeNeuve:** Do tell.  
**Abberline: **I had in mind whoever is committing these murders may be not just one person, but two or more.  
**DeNeuve:** More than one killer, you say? How very intriguing.  
**Abberline:** It seems the lunatic is keeping trophies.  
**DeNeuve:** Trophies?  
**Abberline:** Almost all the victims have had body organs missing. If they are not trophies, perhaps they could be selling them to surgeons that require medical specimens.

**DeNeuve:** How horrible!

**Oscar: **Ah, yes. It seems that one can survive everything nowadays, except death, and live down everything except a good reputation.Everyone! Your attention please! I have concocted a little poem. I was working on the proof of it all morning and took out a comma. In the afternoon, I put it back again.

_Laughter_

**Oscar:** If you will...

Eight little whores, with no hope of heaven,  
Gladstone may save one, then there'll be seven.  
Seven little whores begging for a shilling,  
One stays in Henage Court, then there's a killing.  
Six little whores, glad to be alive,  
One sidles up to Jack, then there are five.  
Four and whore rhyme aright,  
So do three and me,  
I'll set the town alight  
Ere there are two.  
Two little whores, shivering with fright,  
Seek a cosy doorway in the middle of the night.  
Jack's knife flashes, then there's but one,  
And the last one's the ripest for Jack's idea of fun.

Haa haaa!

_Laughter and applause from all except Abberline and Jack_

**SCENE II**

**Ten Bells**

**NARRATION Sally Gallagher:** I find myself outside Ten Bells which, for a change, is not as full as usual. There are, of course, the regulars, but from what I can see, the patronage is at least halved. Even the horde of unfortunates who haunt this place appear to have dispersed for now. All save Pearly Poll who is sitting alone and gin-less at a table. I quietly enter the room and move to her table.

**Pearly:** They let me outta the infirmary this afternoon, Mary. I even 'ad the chance to pinch a bit of bread afore I left.

**Mary:** At least you're looking better.

**Pearly:** Ah! Sally! Where'd you come from! Scared the life outta me ya did! Ya can't just sneak up on people like that! Oooh ya gave me a fright.

**Sally:** I'm sorry, I didn't mean to.

**Pearly:** You come to try convert me again? Save my soul an' all that?

**Sally:** No, I just wanted to get off the streets for a bit.

**Mary:** Got you spooked too, them murders, eh? Can't say I feel safe out there, but a girl's gotta make money.

**Sally:** I know.

**Pearly:** You alrigh'? You look kinda pale...

**Sally:** I'm alright, just a bit cold.

**Pearly:** A gin would fix ya right up, but you don't drink, do ya?

**Sally:** No. Not exactly.

**Mary:** 'Scuse me while I go get one.

**Sally:** Has the Inspector come in here recently?

**Pearly:** I haven't seen 'im. Nor that Jack London fella. Mind you, I been seein' plenty of uvver strange things.

**Sally:** Like what?

**Pearly:** Ah, you wouldn't believe me if I told ya! You'd fink I was mad.

**Sally:** Try me.

**Pearly:** Well, you knows that night that Dark Annie got done, that night I was a bit down on me luck and couldn't even afford a Fryin' Pan lodgin's? So I falls asleep near the ol' cemetery. An' when I wakes up there this man wiv one of them fancy cutaway cloaks an' top 'at goin' inna cemetery wiv this big black bag. At first I finks he's there to visit a grave, but then I sees him goin' all the way up an' into the big crypts. I was waitin' for a bit an' he didn' come out eivva! So I gets scared an' makes me way into town an' finds out 'bout Dark Annie. Poor Annie. That's free of 'em you know! Free of me friends murdered! _(sob)_ Couldn't spare a bitta coin for a gel in distress, could ya, Sal?

**Sally:** Sure. Here.

**Pearly:** A shilling! You're sure?

**Sally:** Like before - promise me you will get yourself a decent meal and some lodgings tonight.

**Pearly:** Alrigh'. I will. Well, take care of yerself - I'm gonna get me some food - I'm starvin', I am.

**Sally: **Take care, Pearly.

**SEPTEMBER 27**

**SCENE I**

**The Police Station**

_knock on the door_

ENTER Jack

**Jack:** _(out of breath) _Inspector, I have something I think you should see...

**Abberline:** What is it?

**Jack:** Read for yourself - it arrived at the Central News Agency this morning.

_The sound of an envelope being opened and paper being unfolded_

**Abberline:** "Dear Boss,

I keep on hearing that the police have caught me, but they wont fix me just yet. I have laughed when they look so clever and talk about being on the right track. That joke about leather apron gave me real fits. I am down on whores and I shan't stop ripping them till I do get buckled. Grand work the last job was. I gave the lady no time to squeal. How can they catch me now? I love my work and want to start again. You will soon hear of me with my funny little games. I saved some of the proper red stuff in a ginger beer bottle over the last job to write with, but it went thick like glue and I can't use it. Red ink is fit enough I hope, ha ha. The next job I do I shall clip the lady's ears off and send to the police officers just for jolly, wouldn't you. Keep this letter back till I do a bit more work then give it out straight. My knife's so nice and sharp. I want to get to work straight away if I get the chance.

Good luck

Yours Truly

Jack the Ripper

Don't mind me giving the trade name"

And whats this written here? On the side?

"wasn't good enough to post this before I got all the red ink off my hands curse it. No luck yet. They say I'm a doctor now ha ha!"

Blast it! Now he is mocking us!

**Jack:** You think it to be authentic?

**Abberline:** Perhaps. Godley, pass me your notebook. Let me check the script that was written in chalk to see if is a match with the letter.

**Godley:** Certainly, sir.

_sound of pages turning_

**Jack:** Is it a match?

**Abberline:** Difficult to say. Certain elements are indeed similar. I think it would be prudent to assume that both were written by the same hand. Blasted lunatic! Still, we must not eliminate the possibility that this is the work of more than one man. The Nichols boys might be taking orders from Kidney. Killing the women when they cant pay, or killing them to sell their organs to doctors for medical dissections and the like.

**Jack:** What do you think we should do Inspector? I assume that you do not wish the public to become aware of this letter.

**Abberline:** No! Under no circumstances should this letter be published! You have seen the Vigilance Committee yourself, Mr London! Imagine how something like this would affect them! They would triple in numbers! Can you imagine! No. Our only chance is to apprehend this killer as soon as we can.

**Jack:** But would it not help in the apprehension to have such organised groups on the increase?

**Abberline:** At first that may seem a good idea, but what if those mobs got out of control? Even the police would not be able to handle the number of incidents that would occur. And what with this reward by Samuel Montague, I dare say there will be more, not-so-organized hunters on the street.

**Godley:** Jack the Ripper, eh? Shouldn't we publish the name on the letter to see what we can dig up there?

**Jack:** And what then of the particulars? It may help turn something up.

**Abberline:** I am not convinced, and until such time as we have more information, I suggest we keep it from the press. In the meantime, Godley, double the effort in the search for Michael Kidney. I want those Nichols boys off the street.

**SEPTEMBER 28**

**SCENE I**

**St. Mary's Chapel**

_A soft knocking at the church doors_

_footsteps and the door opens a bit_

**De La Croix:** May I come in?

**Sally:** Madame De La Croix. Please do.

_door opens more with the creak of the old hinges_

**De La Croix:** A wonderful sanctuary you 'ave. I must admit, I was quite taken by ze craftsmanship of zis chapel when first I saw eet.

**Sally:** Why, thank you. What, pray tell, brings you here?

**De La Croix:** Young one, I am concerned for you. 'Ow do you feel? "Ow are you dealing with your change from mortality to immortality?

**Sally:** I... I don't know. All of this is still so new, so strange.

**De La Croix:** Give eet time. You 'ave all ze time in ze world, now. And zis can be such a beautiful existence, also.

**Sally:** Beautiful? There is nothing beautiful about it! It is demonic!

**De La Croix:** Ahh, no. You will miss so much if you zink like zat. It is true we are no longer mortal, but zat does not mean we cannot live amongst zem. See zeir creations, share in zeir experiences. Live countless lives, experience more zan what any 'uman lifespan is capable of. We are blessed.

**Sally:** But what of the taking of human life? Do you call that being blessed?

**De La Croix:** In a way, young one, yes eet is. You know well zat we need not kill to survive, but when we do take ze life of anozzer into ourselves, zat person lives forever wizzin us, zeir experiences and memories, zeir loves, zeir 'ates, zeir desires, zeir very essence. We do not truly banish zem from ze realm of the living, but expand zeir existence in joining eet to our own. Zere is no need to kill, and in doing so you will only sink deeper into ze darkest part of your nature. Zink about eet, Sally. Eef you were to spend five 'undred years amongst ze artisans of the world, appreciating life and basking in eet's beauty, zen 'ow different would you be if you were to spend five 'undred years wading amidst bloody battlefields? You 'ave ze chance now to live for as long as you desire and in any fashion you choose. You cannot deny zat zis is a gift.

**Sally:** Perhaps. I cannot help but be afraid. This constant need is, is... it frightens me. To know what I am capable of. I have become afraid of myself. This cursed blood will always be within me.

**De La Croix:** Your emotions are as sharp as your senses, now. I would be more concerned if you were not scared of your new form. Eet is only a natural part of ze process of ze change. Ze change does not 'appen in just ze one night! No, my dear. Zis change will go on for as long as you wish to exist.

**Sally:** Forever changing?

**De La Croix: **Zat is right, my dear. And ze cursed blood you speak of 'as eets own merits. Our blood can be most beneficial. Eef we give of our blood wizzout first drinking ze blood of a mortal, zen we can lend our power to zat mortal. Zey gain our stregnz and our ability to 'eal. Eef we give zem our blood regularly, zen we can even lengzen zeir lives.

**Sally:** Will that not then make them one of us?

**De La Croix:** Oh, no, my dear. A mortal must be completely drained of blood before we give zem our own. Only in zis way can a vampire be created. But do not do eet lightly! Wiz the making of progeny comes great responsibility. Our rules forbid us to make vampires from children or zose that 'ave physical afflictions zat would carry on into zeir new lives. Eet is considered an act of extreme cruelty.

**Sally:** Of course. I see. I am honored to receive such wisdom from you, Madame.

**De La Croix:** _(shrugs)_ Ah! I 'ave my moments. Goodnight, young Sally. I wish you all ze best.

**SEPTEMBER 29**

**SCENE I**

**Ten Bells**

**NARRATION ****Pearly Poll****:** I can 'ear the sound of that Vigilance Committee wiv their burning torches an' all, tryin' to 'unt the killer down, as they pass Ten Bells. I'm sittin' wiv Long Liz and I slugs back me gin and 'oo should come in but Caffy Eddowes lookin' decidedly tipsy.

_Bell on the door rings_

ENTER Cathy Eddowes

**C****athy:** Oh 'allo Pearly. Allo Liz.  
**Pearly:** 'Allo Caffy, 'S tha' you?

**C****athy:** Just come back from doin' some 'op-pickins, with John Kelly. Thought I could make a bit of money away from 'ere - but no. What I spent on food an' lodgin's still left me just about flat broke. So, now I'm back to make an 'onest livin'.

**Liz:** Hahhaa! That's a good one!  
**Pearly:** Oh, I don't fink you got much of a chance 'round 'ere eivva.  
**C****athy:** Why? What's 'appened?  
**Liz:** Murders and the like, you know.  
**C****athy:** More murders?  
**Pearly:** Oh, it's terrible! What now wiv Annie gone, all chopped to bits wiv a knife!  
**C****athy:** Annie? 'S not them Nichols boys, is it?  
**Pearly:** Well, they fought it was this levva apron fella what did up Polly's 'at, but then they said it wasn't 'im. All the gels are jus' bein' ripped to shreds, you know. Stabbed an' torn open an' blood an' guts all over the place.  
**C****athy:** You're pullin' my leg!  
**Pearly:** I swear to Gawd. Im tellin' the truth – really, I am.

_Bell on the door rings_

ENTER Mary Kelly

**Liz:** Shush! Look who it is, just walked in. 'S Mary Kelley.

**Pearly:** Bollocks, tha's the last fing we need is some looker comin' in an' stealin' our customers.

**Liz: **Shurrup!'Ere she comes.

**Mary:** 'Allo, luv.  
**Liz:** What're you doin' 'ere, Mary?  
**Mary:** Oh, I'm 'avin a bit of a drink.  
**Pearly:** Well you go on 'ave yer drink an' be orf with ya! We got enough troubles gettin' work wivout anuvver girl 'round makin' it 'arder for us!  
**Mary:** Why's that?  
**Pearly:** Coz of the murders, a-course!  
**Mary:** Maybe we could work together, just for a bit.  
**Cathy:** Work togevver?  
**Mary:** Yeah, work together. We could watch each other's back, you know.

**Liz: **Oh pissorf! We don't need 'er!  
**Cathy:** 'Ow's that gonna work, then?  
**Mary:** Well, I'll make sure I know who you're goin' with and you make sure you know who I'm going with. That would be safer.

**Pearly:** Oh I don't know. All 'ese murders are really scarin' me. An' besides, I don't fink that would work. Even if ya did know 'oo was wiv 'oo one of us could still end up dead.  
**Cathy****:** Well I think we should be tryin' to get as much as we can.  
**Liz:** Oi! Cathy! Slow down onnat gin, luv, we still gotta work tonight you know.

**Cathy:** If I'm goin' out there tonight I aint gonna be sober!

**Liz:** Yeah, but you still need to be able to stand up.

**Cathy:** Shurrup, you! I'll drink 's much as wan-

**Liz:** Oi! Watchit!

_The sound of a glasses smashing and table falling over._

**Pearly:** Me gin!

**Barkeep:** Right that's it! Get outta here, you! Back on the streets with you!

**Cathy:**Hahaa! Right you are, barkeep! Don't want your shoddy tables collapsin' all over us! Out to earn me lodgin's I go!

_Bell on the door rings_

EXIT Cathy Eddowes

**Liz:** She'll be next. Mark my words! She'll be next!

**SCENE II**

**Police Station**

_door opens with much scuffling_

**Kidney:** Oi you bloody coppa! Get your damned hands off me!

**Abberline:** Ahh, Kidney, back again, old chap?

**Kidney:** Pissorf, Abberline!

**Godley:** Michael Kidney, you are under arrest for suspicion of murder.

**Kidney:** I didn't kill nobody! I didn't do nuffink!

**Abberline:** That's not what I've heard. Heard you have been roughing up some of the unfortunates, threatening them with a knife.

**Godley:** A knife like this no less. I found it on him earlier.

**Kidney:** I didn't do nuffink!

**Abberline:** Good work, Godley. Lock him up.

**Godley:** Ah sir - the cells are still full up.

**Abberline:** Well make room then, man.

**Godley:** Right you are sir. Here we go. How about you take over Miss Cathy Eddowes cell?

_sound of the cell door opening_

**Cathy:** 'Ere thats a good one! Lockin' up a murderer instead of a drunk. 'Ow do ya like them apples, Kidney! 'Bout bloody time you were in here!

**Kidney:** I'll bleedin' get you! You filthy whore!

**Godley:** Not from in here you wont! Get in!

_sound of the cell door closing and being locked_

**Cathy:** 'S the gallows for you Kidney! You 'ear me!

**Godley:** Alright - get out! And you watch yourself Cathy! I don't want to be bringing you back in here!

**Cathy:** Right you are coppa! You won't be seein' me 'ere again!

**SEPTEMBER 30**

**SCENE I**

**Darkness**

**NARRATION Jack London: **The magician is again behind me! I run through the streets, but he is there at every window! "Do not fear me, Jack" he says. I run until the streets fade to darkness. Suddenly a brief scream followed by the slash of a blade and the sound of gurgling blood. A horse and cart. A striking match. Another woman, staggering through the street. A gloved hand grabs her hair from behind while the other slashes three times with a deadly blade. Rending cloth. Rending flesh. The blade stabs through flesh and slices through skin. Blood, blood and more blood till it completely fills my vision.

**SCENE II**

**Berner Street**

**Abberline:** Blast it all! Not another! Will these murders never cease?  
**Godley:** Apparently some Jewish cart owner found her, thinking she was a pile of garbage. He lit a match to discover it was a murdered woman, he then went into this Internatonal Men's Club here and brought out all the men with lanterns to further view the body.

**Abberline:** It is still very dark. Lantern here, please. This one has had her throat cut also, quite severely, but so far seems to be the only wound. Almost enough to sever the head, look, Godley.

**Godley:** Oh Lord... isn't that Long Liz?

**Abberline:** I do believe so. She is still warm, even though the rain may have cooled her off a bit. Just like the others her feet are pointed outwards but unlike the others her skirts are not even lifted. Perhaps the killer was interrupted by the cart owner. And what's this? Clutched in the woman's hand is some candy in a paper bag, cashous, I believe.

**Godley:** Cashous?

**Abberline:** Cashous, Godley. Five of them. They are quite often used to freshen the breath.

**Godley:** Do you think the killer gave them to her, sir?

**Abberline:** Very possible, Godley. Perhaps he gained her trust before cutting her throat, never giving her time to scream. There is a considerable ammount of blood on the cobblestones, even though it has begun raining. This killer cannot be far off, Godley. Did anyone hear anything?

**Godley:** No sir. From the noise inside when they were all singing, no one heard anything. Again it's been done with a knife. Could be one of them. Shall we search all of them?

**Abberline:** Yes, Godley do it. Make sure no one leaves. Get the other officers to search the nearby homes at once. See that the body gets to the morgue and question every single person that was in the Men's club.  
**Godley:** Yessir! Right away sir!

_Police whistles in the distance_

**Abberline:** Can it be?Have we finally found him?

**SCENE II**

**Mitre Square**

**ACT I**

**NARRATION Inspector Abberline: **I arrive at Mitre Square hoping to see the officers apprehending the Ripper, but the scene that greets me is far different. A crowd has already begun to gather around the body of another woman. I push my way through and can barely believe what I see. The woman lies face up on the wet cobblestones, her clothing torn away, her abdomen brutally slashed open, her thighs cut. I hold the lantern to the woman's savagely mutilated face and recognise her as Cathy Eddowes. Her throat has been sliced several times, the blood soaked in to her clothes an all about the pavement. Her left cheek is a bloody gash, and there are two nicks, one on each of her upper eyelids. As I inspect the torso and abdomen, I see that this was no careful work, but rather a frenzy of stabs and slashes. Even in the dim light of the lantern I can see that once again some of the organs have been removed. In the distance I hear the sound of another police whistle and this time I dare not guess as to the reason.

**SCENE III**

**Goulston Street**

**ACT I**

**NARRATION Pearly Poll:**'Ere I is lookin' for lodgin's, wandering through the streets of Whitechapel. I near spent all me money an' I'm walkin' up Gouldston Street inna cold an' it starts rainin. Jus' all I needs. Then I sees something lying onna ground. I dunno what it is, but it looks like someone dropped a parcel. Maybe it's got some food in it. I picks it up – an' it's all wrapped up in cloth. It's too dark to see, so I gets a bit closer to a gas light an' I 'ave a look.

_Pearly screams_

Aaaaah. Ooooh. It's a pair of coveralls all covered in blood! I drops the horrid fing and then I 'ear somefin' onna cobblestones. Aaaaah! Ahhh! It's a knife all covered in blood! Ahhhhhhhhh! Oooooaaaaahhhh! P'lice! Bloody murder! Ooooohaaa! P'lice! Anyone!

_Police whistles_

**ACT II**

**Jack:** Another murder, Inspector?

**Abberline:** Yes, Jack. Another and another. Two in the same night.

**Jack:** Two?

**Abberline:** Yes, two. The first was Long Liz down in Berner Street. The other was Cathy Eddowes in Mitre Square.

**Jack:** You recognised her?

**Abberline:** Barely. She was in the lock-up earlier tonight. If I hadn't let her out she would still be alive. The Ripper had certainly done his work on her. She was completely cut open. It seems the killer was wearing coveralls and discarded them along with the knife, right in this very spot. Escaped again! Curse him!

**Jack:** What's this?

**Abberline:** What's what?

**Jack:** Look! There is writing here... on the wall in white chalk.

**Abberline:** What? Chalk again?

**Jack:** And there's a smear of blood next to it. "The Juwes are not the men that will be blamed for nothing". The word Jews is misspelt. What do you suppose that means?

**Abberline:** I don't know. Perhaps it was misspelt intentionally, but the hand it is written in may give us a clue.

**Jack:** Intentionally? But why?

**Abberline:** Possibly to make us think that the killer is not completely literate, when in fact he is.

**Jack:** You think that the Ripper may be well educated?

**Abberline:** What with that letter and how he has removed specific organs it is certainly possible, but to tell you the truth I don't know what to think. How soon can you take a photograph?

**Jack:** At first light, Inspector. Possibly about half an hour away.

_ENTER Sir Charles Warren_

**Warren:** Right then whats all this then? Whats this? Go on out of my way! Out of my way! Abberline! What's going on?

**Abberline:** We just discovered this writing here on the wall, right where the coveralls and the knife were found.

**Warren:** Whats this then.. "The Juwes are not the men that will be blamed for nothing"? Rubbish! Wash it off! Wash that off now!

**Abberline:** What!  
**Jack****:** Sir, might I take a photograph for evidence?  
**Warren:** Absolutely not! Wash it off! In less than an hour the sun will be up and all the Jews in the neighbourhood will be up to see this! My good man, Whitechapel is already in uproar and we cannot let this turn into an outright riot! It would become a massacre that no one would be able to prevent. Constable! Wash that off - get a bucket and sponge! Do it now I tell you!  
**Abberline****:** But, sir! This is evidence!  
**Warren:** I don't care! Do you not see what I'm telling you! Where is that bucket? Give it to me!

_He gets the bucket and sponge and scrubs at the writing himself._

**Jack:** Abberline?

**Abberline:** I'm copying it into my notebook before it is gone. I guess we shall have to rely on old methods this time, Jack.

**Jack:** You must let me publish the Ripper letter, Inspector. The killer must be caught.

**Abberline:** Very well. Do it. And let us pray it will bring an end to all this insanity.

**OCTOBER 1**

**SCENE I**

**Police Station**

**Abberline:** The Ressurectionists. Most of those people were arrested several years ago. They used to rob graves and steal the organs which were sold to certain immoral doctors for dissections and experiments, but those doctors were expelled from the profession upon discovery.

**Godley:** You think we might have someone killing unfortunates to sell their organs. Wouldn't it take the knowledge of a surgeon to remove a kidney?

**Abberline:** I should think it a possibility, but a kidney would not be a particularly difficult organ to cut out, provided one goes looking in the right place. For that, one would have to have at least a basic understanding of human anatomy. I can't rule out any possibilities at this time, Godley.

ENTER Jack London

**Jack:** Inspector! Another letter from the Ripper... well.. a postcard, actually.

**Abberline:** Eh? What's this?

**Jack:** Here, read it for yourself!

_The sound of an envelope being opened and paper being unfolded_

**Abberline:** "I was not codding dear old Boss when I gave you the tip, you'll hear about Saucy Jacky's work tomorrow. Double event this time. Number one squealed a bit, couldn't finish straight off. Had not got time to get ears off for police. Thanks for keeping last letter back till I got to work again. Jack the Ripper. "

**Godley:** What do you make of it, sir?

**Abberline:** A taunt. The hand writing does not suggest it is the same that wrote the "Dear Boss" letter. Can our boy be clever enough to write in different styles? Who else could possibly know about the double murder so soon?

**Jack: **It is due to be published in this evenings edition of the Star.

**Abberline:** What? And you only received it this morning?

**Jack:** That is correct, Inspector. Central News Agency, this morning.

**Godley:** Ah the mail. That reminds me... I shall go fetch it.

**Abberline:** Well I suppose it may help to publish it. I assume we shall see if we have had any responses, other than that damned George Lusk always petitioning Head Office to grant a reward. Quite frankly, I doubt it will help, and Sir Charles Warren has been adamant thus far in refusing the request.

**Godley:** The mail, Inspector.

_Godley upends the enormous sack all over the desk._

**Abberline:** Good God! There are hundreds! Hundreds of letters!

**Jack:** It seems you have a response, Inspector.

**Abberline:** How am I supposed to go through all these? It will take all day and all evening!

_phone ringing_

**Abberline: **What do I do with it?

**Jack: **Pick it up. Speak into this part here.

**Abberline: **Right... Right. Err. Inspector Abberline, Scotland Yard. **  
Queen: **This is her Majesty, Queen Victoria**.  
Abberline: **Your Majesty? I- I'm honoured, your Majesty.**  
Queen:** We are most upset and quite shocked to hear of these recent murders, Inspector.**  
Abberline: **I...I understand your Majesty. We at the police station are doing all we can to catch this killer. **  
Queen: **We wish for this criminal activity to cease immediately. **  
Abbelrine: **Yes your Majesty.**  
Queen: **We shall leave this matter in your hands. You have our permission to do all that is necessary to make certain there will be not another single murder in this city! This we ask and this is what shall happen - do we make ourself absolutely clear?**  
Abberline: **Yes... Yes indeed, your Majesty. **  
Queen:** Very well. We shall expect this matter to be resolved very quickly, Inspector Abberline.

_Abberline hangs up_

**Abberline:** Blast it all to hell.

**Godley:** That wasn't...

**Abberline:** Yes. Yes it was, Godley. I am very much beginning to dislike this new invention.

_Commotion of voices and the door bursts open_

ENTER George Lusk

**Lusk:** He sent it to me! Sent it right to me! He knows where I live!

**Abberline:** Calm down man! What are you talking about?

**Lusk:** A letter! To me! From the Ripper!

**Abberline: **Let me see it. "From Hell"...

**Lusk: **And this was with it!

_Abberline unwraps the package_

**Godley:** Oh my Lord! Oh lordohlord!

**Jack:** Was is it, Inpector?

**Abberline:** It appears to be half a kidney, Mr London.

**Lusk:** You see! You see it! What are you going to do about it?

**Abberline:** I assure you Mr Lusk, that the police are doing all we are able to catch the murderer, and..

**Lusk:** And a fat lot of good it has done so far! You have done nothing but apprehend the wrong men and allowed this madman to roam amongst the streets killing and murdering as he pleases!

**Abberline:** Mr Lusk...

**Lusk: **I do not want your excuses, I want him found!

_Pounds fist on table._

ENTER Charles Warren

**Warren:** What's all this racket?

**Abberline:** It seems the Ripper sent one of his trophies here to Mr Lusk in response to him being elected president of the Whitechapel Vigilance Committee.

**Warren:** Ah yes. The Committee that has taken the law into its own hands!

**Lusk:** Now look here!

**Abberline:** And has still not managed to capture the murderer, despite all their comings and goings on the streets of Whitechapel.

**Lusk:** I...

**Abberline:** Mr Lusk has had quite a shock and is very upset, so I might suggest he go home and keep his doors and windows locked for the time being.

**Lusk:** This is an outrage!

**Abberline:** Yes, and this is someone's kidney, so if you would please excuse us, you can see that we have a great deal of work to do.

**Godley:** This way if you please, Mr Lusk.

**Lusk:** This isn't over, Abberline!

EXIT Godley and Lusk

**Warren:** Damn it all, Abberline. Find him!

**OCTOBER 10**

**SCENE I**

**Hyde Park**

**NARRATION Jack London:** Here we are today amongst a large crowd in Hyde Park with the Chief of Police, Sir Charles Warren. He has at his side his two bloodhounds, Barnaby and Burgho. These two excellent hounds have been personally trained by Sir Warren and he holds no doubt that they will track down the Ripper that is still at large in the Whitechapel district.

**Montague:** Well, Sir Charles, I trust all things will go without incident. I have five hundred pounds up for reward, you know.

**Warren:** Leave it to me, Sir Samuel. This killer is as good as found!

**Montague:** I very much hope so. These killings are quite out of hand, and so far your department seems to have done very little about it.

**Warren: **I promise you, Sir Samuel, these are the best trained bloodhounds in all of Whitechapel.

**Montague:** I shall take your word for it.

**Sir Charles Warren:** Attention! Your attention please! Today is the day that this killer is finally tracked down and brought to justice! I guarantee to you all that these two bloodhounds, personally trained and tested by myself, shall have no difficulty in sniffing out this menace. They shall succeed where other members of the police force have failed. For the canine hath superior senses to that of man. The scent of the killer lies hidden amongst these bloodied coveralls, a scent that only these hounds can perceive. Once on the trail of the Ripper they shall track him down and shall lead us directly to him! Barnaby, Burgho! Here take up the scent.

_A few barks and growls_

**Man in crowd:** Do ya fink it'll work?

**Woman in crowd:** Well why wouldn't it - he said he trained 'em hisself!

**Warren:** Seek him out! Seek him out!

**NARRATION Jack:** And with the scent of the killer fresh in their snouts the two bloodhounds, noses to the ground begin to search here and there as the crowd watches on eagerly.

**Warren:** See how they search for any sign of the killer!

**Man in crowd:** Look to me like one of 'em is looking for a tree on which to relieve hisself more like.

**Woman in crowd:** Ooo look 'e is .. and all that.

_Crowd Laughs_

**Warren:** Burgho! Come away from there and search! Get back on the trail! Burgho! Search!

**Woman in crowd:** Ooo look, now 'es going for that reporter fella.

**Man in crowd:** Isn't that Jack London?

W**oman in crowd:** I dunno but it looks like hes taking notes. Now hes goin for that other fella. The one wiv that big mustache, that looks all proper.

**Man in crowd:** That's Sir Samuel Montague, that is! E's offered a five hundred pound reward for the capture of the Ripper! Oh, look what 'e's doin'! 'Es goin' straight for his leg! Haa haaarrrr!

**Montague:** Warren! Warren! Get it off! Get it off! Blast it!

_Crowd laughs_

**Warren:** Barnaby! Get here at once!

**Woman in crowd:** Oooh and look at the other one! Looks like he's on to something!

**Man in crowd:** Look! He's got somethin'!

**Woman in crowd:** Wot? Wot's 'e got?

**Man in crowd:** Haar Haar! It's a dead pigeon! Haa haa! The Ripper's a pigeon! So that's what's been killin' all them women! Haa haaa! I shoulda known! Haar haar

_Crowd Laughs heartily._

**Woman in crowd:** Haa haa, now e's bringin' it back too! haa haa!

_Crowd Laughs even more._

**Warren: **Barnaby! No! Here! Come here! Here! Pick up the trail! Now go!

**Woman in crowd:** Look they're both off now! Look right for them bushes!

_Dogs start barking._

**Man in Bushes:** Oi! Oi! I was just taking a piss! Get off you mutts!

_Crowd screams with laughter_

**Warren:** Barnaby! Burgho! Come back here at once!

**Woman in crowd:** _(laughing uncontrollably)_ Look they're off! Haa haa!

**Man in crowd:** Yeah, off for more trees or pheasant!

**Woman in crowd:** Thats right! Cos the Ripper's a tree!

**Man in crowd:** Or a bloody pheasant!

**Woman in crowd:** Oh Look whats happened here. He's after a stray bitch. Oh look! Is he gonna? Is he gonna? Oooo haa haa he's doin' it! Haa haaaa! Well that one dog that knows how to sniff out an unfortunate! Oi Coppa - he's on the trail of the victims not the murderer!

_Crowd laughs uncontrollably_

**Warren:** _(weakly)_ Barnaby? Burgho?

**Montague:** Personally trained you say! The Ripper is as good as found you say! I shall be sending you the cleaning bill for this outrage!

_Crowd laughs Warren to scorn_

**NARRATION Jack:** And thus it seems that the bloodhounds Barnaby and Burgho have failed, despite their superior senses to only rid Hyde Park of dead pigeons and those that would use bushes as latrines. The chief of police was last seen pursuing his 'well trained hounds' around the park in what seemed to be a futile effort to bring them under control. The London police are once again unsuccessful in their attempt to locate the notorious killer known as Jack the Ripper.

**OCTOBER 18**

**SCENE I**

**The Police Station**

**Abberline: **Damnation! Letters coming in by the hundreds! Absolutely no way to tell which are frauds and which are genuine! Every crank and lunatic sending in stupid drawings and foolish remarks! How am I ever supposed to find the killer when I'm buried up to my neck in paper!

_The sound of an envelope being opened and paper being unfolded_

**Godley:** What about this one, sir? Forwarded to us from Home Office. Ahem... "Dear Boss,

So now they say I am a Yid. When will they ever learn Dear old Boss? You an me know the truth don't we. Lusk can look forever he'll never find me but I am rite under his nose all the time. I watch them looking for me an it gives me fits ha ha. I love my work an I shan't stop until I get buckled and even then watch out for your old pal Jacky.

Catch me if you can."

**Abberline:** That does have a similar ring to the first letter. But it doesn't get us any closer to finding him, does it Godley?

**Godley:** What about the postmark on the letters, sir?

**Abberline:** Postmark? The Postmark! Good thinking, Godley. It may give us a clue to his whereabouts. Let me see... The paper containing the pills has the postmark of London. The letter has the postmark of the East End. The postcard also. This one you have here from London Central.

**Godley:** Do you suppose the doesn't killer live in Whitechapel?

**Abberline:** It is a possibility. If so, he may need some sort of transport to get to the East End, such as a hackney.

**Godley:** Or a coach.

**OCTOBER 20**

**SCENE I**

**The Streets**

**NARRATION Jack London:**__I had purchased a map of Whitechapel for six pence earlier in the evening and as I walked by a gas-lit lamp post I took it out of my pocket and unfolded it. Taking a pencil from my pocket I searched for certain landmarks and street names to determine my location. Then, a thought struck me. Using the pencil I began to mark down the location of the murder victims. Perhaps there was a pattern?

**Jack:** Martha in George Yard Buildings, Polly Nichols in Bucks Row, Annie Chapman was found there at Hanbury Street, Long Liz there in Berner Street and about 15 minutes later Cathy Eddowes at Mitre Square, here. I take my pencil and with a few strokes connect the murders. A star! I draw a circle around it so that each point of the star touches it. A pentagram! And here! Right in the centre of the symbol is my place of occupation – The Star. What can it mean?

ENTER Rave Danger

**Rave**: Good Evening, Mr London.  
**Jack**: (gasps) Mr Danger! You startled me.

**Rave:** I do apologise. It seems almost everyone is on edge these days, and for good reason.

**Jack:** Yes. The Ripper is still at large and no-one knows who he is. No-one at all.

**Rave:** Surely you do not think that I am the Ripper?

**Jack:** I do not know, Mr Danger. Quite frankly, I find you most disturbing.

**Rave:** I mean you no harm, Jack, and I am not the one who has been killing those women.

**Jack:** So you say, but I have seen-

**Rave:** Seen what?

**Jack:** I- I have seen you in my dreams. Horrific dreams. Dreams of blood.

**Rave:** Blood?

**Jack:** Yes. Blood! I am scarcely able to sleep, for fear that I will dream of another murder, for every time I have these nightmares another woman is dead the following day!

**Rave:** You have had visions of the murders?

**Jack:** I have! Each time I dream it, it then becomes true. I fear I am losing my mind.

**Rave:** Your dreams may be premonitions, Mr London. Your mind may be more powerful than you know.

**Jack:** Premonitions? If they are premonitions, then you must be the Ripper! I have seen you!

**Rave:** Calm yourself!

**Jack:** I... have... seen...

**Rave:** The reason you have seen me in your dreams, Jack, is because I have placed myself within them. It is within my power to do so. But I have nothing to do with your premonitions concerning the murders.

**Jack:** How can I believe you? Why have you done this?

**Rave:** Because I am dying, Jack.

**Jack:** I don't understand.

**Rave:** I suppose the time has come for me to be honest with you. I need your help, Jack. Without it I will die. I am not human, Jack. I am a vampire.

**Jack:** A what!

**Rave:** A vampire.

**Jack:** I do not find this amusing, Rave Danger!

**Rave:** It is how I am able to control the minds of others, how I am able to move faster than the eye can see, how I am able to vanish from sight.

**Jack:** Trickery! Illusions!

**Rave:** I have the strength of ten men and am able to heal deadly wounds.

**Jack:** You cannot be serious.

**Rave:** Oh, but I am. My powers are as real as your own power of premonition.

**Jack:** And without blood, you die, is that it? You need to kill me to survive.

**Rave:** Not as such. As I stated earlier, I intend you no harm.

**Jack:** Then why do you need my help?

**Rave:** All vampires are somewhat different from each other, in the same way as humans. Some of us are monsters, some lead elegant lives. Some of us have unique powers, others unique weaknesses. The immortal are not so different from the mortal.

**Jack:** If you are immortal then how can you die?

**Rave:** In my case, at the end of every one hundred years I age at an alarming rate. My flesh begins to wither, and my skin begins to crack. The very fabric of my body deteriorates.

**Jack:** But you do not look like you are aged.

**Rave:** This face, these hands, all an illusion. A mind trick.

**Jack:** Your... your face?

**Rave:** Yes. You have seen it. Seen what lay behind the mask that night of the fire by the docks.

**Jack:** This cannot be true.

**Rave:** Ah, but it is true. The only thing that can prevent the aging is to take the form of another.

**Jack:** What do you mean?

**Rave:** When the stars align and the planets form the conjunction, there must be one who is willing to make the trade. One life for another. The willing person gains all the power and knowledge the vampire has to offer. In return, the vampire becomes the new person, thereby perpetuating his existence.

**Jack:** That is absurd!

**Rave:** It is my only chance. And the choice must be yours, Jack. Dwell on it!

EXIT Rave Danger

**NARRATION Jack London:** Rave Danger swings his cloak around and vanishes into the darkness. My mind reels with what he has told me. It cannot be true. But, my dreams, the image of his face that night, his powers! If it is true then... then...

**OCTOBER 23**

**SCENE I**

**Ten Bells**

**Abberline:** Theories! Theories! All we have are theories. It's like we're drowning in them like we are drowning in those confounded letters at the station. Everytime I think we are getting somewhere, it all turns right back into a big mess!

**Jack:** I have something for you, Inspector.

**Abberline:** Not another letter.

**Jack:** No. Not a letter, a map.

**Abberline:** Eh?

**Jack:** I bought it the other night and marked out where the unfortunates were killed. Here, look.

_sound of unfolding paper_

**Jack:** What do you make of it, Inspector?

**Abberline:** I'm not sure... There were a number of objects left at Annie's feet, arranged just so, to form a five pointed star. The pentagram is an occult symbol, though I do not know it's meaning.

**Jack:** Occult? Could it be the killer is performing some sort of ritual?

**Abberline:** I don't know what to think of it.

_The sound of a large crowd passing _

**Pearly: **Well, will ya look at them. Least they're doin' somefin'. _(cough cough)_ That Vigilance Committee... _(cough)_

**Abberline:** Oh, don't get me started!

ENTER Man with collars

**Man with collars:** Miss! Miss! You wouldn't happen to be an unfortunate, now would ya? Ya look like one. Ya got a penny?  
**Pearly:** What? No, I aint got nuffin'... not a penny.  
**Man with collars:** Well, miss, if ya did I got something for ya. Something like you aint never seen! This! To ward 'im off. A steel collar!  
**Pearly**: What am I s'posed to do wiv this, then?  
**Man with collars:** So you don't get killed! The Ripper can't slash your throat if ya is wearing this, then can 'e? Give it back now. Give it back! Unless you got a penny!  
**Pearly:** But I 'aven't got a penny! Oi!  
**Man with collars:** Gimme that back!  
**Pearly:** You're not even a kind enough soul to gimme this one to save me life! I'll be next you know! I'll be dead next!

**Jack:** What's going on here?

**Abberline:** I'd call it extortion.  
**Man with collars:** Go on then. You look like a man with a bit of money. Buy the lady a collar so she won't get killed. Go on, then! Hang on. Aren't you Inspector Abberline! What are you dong down 'ere? Not doing much about these murders, are ya! You should be ashamed of yourself! Ashamed that it had to come to this! Sittin' 'ere 'aving a beer while the killer is still on the loose!

**Abberline:** I'm sure I'm about to come up with a reason to arrest you.

**Man with collars: **Look 'ere, sir. Two pee for this nice spikey collar, then. 'E comes up behind ya, tries to strangle ya and 'e gets spiked! Ya see 'ow this works? It's great, innit? Two pee for a spiked collar!

**Jack:** Oh, very well... here's your two pence.

**Pearly:** Oh fank you Mr London. You truly are a gentleman.

**Man with collars: **And thank you, sir! Just saved the lady's life you 'ave.

**Abberline:** Yes, you're the patron saint of all unfortunates everywhere. Now get lost!

**Man with collars: **Collars! Get your collars! Save ya life for only two pee!

EXITMan with collars

**OCTOBER 26**

**SCENE I**

**The Streets**

**Rave: **This London fog does make it very difficult to see anything more than a few feet ahead.

**Sally:** Yes. Even with our superior senses all I can detect is the stench of the soot and the slaughter yards. Wait... what's that up ahead?

**Rave: **It looks like a woman.

**Sally:** Whos there?

**Rave:** Speak woman! Tell us your name!

**Sally:** She is very still.

**Rave:** Yes.. I wonder... wait a moment.. what's this? It appears to be a contraption made of wood, dressed in the skirts and trappings of an unfortunate.

**Sally:** Whatever for?

**Rave:** I would suggest you do not touch...

_sound of spring and staking flesh_

**Rave and Sally: **UUUgghh!

_Sound of two bodies collapsing on the floor_

**Emmett:** Ive got him! Ive got him! At last! Yeeeess! Ive got him! At last! Oh my lovley invention, lovely invention. What's this? Ahhh! A woman? Surely not - I say! Two of them! Working in a feindish partnership? Ah ha! Ive got 'im! Ive got 'im! Ive got the Ripper! Come see! Come see! I have him!

EXIT Emmet

ENTER Badger

**Badger:** Hm, what have we here. A spring contraption? Sally? Sally! Oh, dear girl! What has happened to you? Well, that is a nasty bit of work there. Let me see if I can get this wooden stake out.

_Sound of ripping the stake out of Sally and she screams_

**Badger:** Ahhh, a wooden stake through the heart. Well you will heal soon enough. And who have we over here? Mr Danger. What a calamity!  
**Sally:** Danger...?  
**Badger:** Oh, he cannot speak – he is completley paralysed.  
**Sally:** I thought I would have been killed by something like that.

**Badger:** As your body is already dead, of sorts, Being killed is very difficult. The wooden stake through the heart certainly does incapacitate us, but once removed, we are free to regenerate.

**Sally:** We have to get out of here. They will come back.  
**Badger:** I once knew a vampire who was staked and rotted away to a skeleton before some-one removed the offending piece of wood.

_Sound of stake being removed and Rave howling in pain_

**Rave:** Oh that hurts terribly! My vest! It is ruined!

**Badger:** He returned to his previous form within minutes, but had no memory of the century that had passed. Now, quickly. Let us leave – they are coming back!

**Sally:** Badger, have you been following me?

EXIT Vampires

**Man 1:** Where is it! Where?  
**Emmett:** I've got him! I caught the Ripper!  
**Man 2:** Are we nearly there? Where was it?  
**Emmett:** Over here... right over here - I got him! Got him!  
**Man1:** Yaaaah! What's this?

**Emmett:** My invention! It worked! It worked!  
**Man 1:** You see anything?

**Man 2:** Only this strange thing.  
**Emmett:** Where did they go? They were right here!  
**Man 2:** I don't see nuffin'.  
**Man 1:** You have lost your mind, old man.  
**Emmett:** But, I got the Ripper! I saw it - my lovely invention! I got the Ripper!  
**Man 2:** Whatever you say, old man. C'mon let's go.

**Man 1:** Pfftt.. all that fuss for nothing.  
**Emmett:** I had him! I did! With this spring contraption that shot out wooden stakes to in four directions to impale him! I had him! I swear I did! Will no one believe me?

**Man 1: **Old fool. Let's go.

EXIT Men

**Emmett:** _(weakly)_ But... I had him... I had him.

**OCTOBER 31**

**SCENE I**

**The Infirmary**

**NARRATION Sally Gallagher:** It has been days since I have fed and I feel the terrible hunger within me. I feel weakened, but cannot bring myself to feed on another mortal. Even after considering Madame De La Croix's words, I am still afraid that I have become nothing more than a killer. I recall what she said about my choices and being blessed. I shall continue to do my duities in the name of God. I will continue to help the sick and the poor. I make my way to the Infirmary and upon entering I see Pearly Poll amongst the sick and the dying.

**Sally:** Pearly. Pearly? Can you hear me?

**Pearly:** Sal? Issat you?

**Sally:** Yes, Pearly. It's Sal.

**Pearly:** I'll have gin... one for Sal 'ere too, fanks barkeep...

**Sally:** Pearly? Stay awake. Please... Pearly?

**Pearly:** Oh, I don't feel so good... I was so 'ungry... So 'ungry...

**Sally:** Pearly?

**NARRATION Sally Gallagher:** I can hear her heartbeat become slower, weaker. I cannot have her die! I had sworn to keep her safe! If I lose her, then... then... No! There must be another way! Wait! There is... the blood. So much blood all around me, the sick, the wounded and the dying. The hunger again stirs in me, I can feel my fangs grow. So... hungry...

There is a low moan from a bed behind me, I turn and see a young boy. Bloodied, battered and bruised. Their no way to tell what has happened to the poor lad. He looks at me and tries to reach out, tries to speak, but only blood bubbles and pours from his mouth. I see the awful pain in his eyes and I take his hand.

**Sally:** Do not be afraid, child. Yea, Though I walk through the valley of the shadow of death, I shall fear no evil, for Thou art with me... Thats right, sleep. Sleep and be at peace.

**NARRATION Sally Gallagher:** I kiss the boys cheek and then his wrist. Dear God extend to me your mercy and allow me to cease the boy's suffering. I pierce the soft flesh with my fangs and drink deeply. I hear his heart beat quicken at first, then slow, his labored breathing eases. His memories flood through me. Running through the street, laughing. Attempting to catch a pigeon with a box, a stick and a piece of string. Playing jacks when the ball bounces away into the street. Chasing the ball into the street and the frightful realisation of a coach bearing down upon me. Horses hooves, the wheels of the coach and the hard, unforgiving surface of the cobblestones. The boy's heartbeat fades as I drain the last of his life away, and finally ceases. I place his arm upon the bed.

**Sally:** Be at peace.

**Pearly:** _(groans)_

**Sally:** _(whispering)_ Pearly. Can you hear me? I have some medicine that will make you feel better. Pearly?

**Pearly:** _(groans)_

**Sally:** Here. Drink.

**NARRATION Sally Gallagher:** I gently puncture a vein in my wrist, with a fang and press the wound to Pearly's mouth. I hold her head in my hand and with the other, dab her forehead with a damp cloth. There is a soft flick of her tongue, testing, tasting, before she begins to drink my blood. I hear her heartbeat strengthen as I feel the virtue of the blood drain from me. Steadily, I pull my wrist away and the wound heals before my eyes. I gently place Pearl's head back on the sack she has as a pillow, and wipe the blood from her lips.

**Sally:** Sleep, Pearly. When you wake you will feel strong and revitalised. You will not remember anything that happened tonight. Sleep, now. Sleep.

**NARRATION Sally Gallagher:** I take a step to leave, but pause. I look at the black leather-bound bible in my hand. Knowing that it would be of little use to Pearly, I unfasten the silver crucifix I wear and place it in her hand, discreetly tucking the chain into her palm, lest it be stolen.

**Sally: **God be with you, Pearly Poll.

**NOVEMBER 9**

**SCENE I**

**Darkness**

**NARRATION JACK:**A gloved hand deftly slides through a broken window pane, unlocking the door from the inside. The door opens to a room, fire burning in the hearth. There is a woman with red hair asleep on the bed. A figure sits on the bed next to the sleeping woman. Silently a hand draws forth a long knife while the other reaches out for the womans' hair. The hand grabs the hair, pulling her head back while the other slashes the womans throat, giving her the chance to wake, never giving her the opportunity to scream. Blood pours from the wound, spattering on the wall, soaking into the bed. The knife then begins to cut away at her body, removing skin, flesh and organs. It cuts her face to the bone, slices the flesh from the arms and legs, removes the breasts. Bloodied hands reach into the ribs and finally cut out her heart, holding it up to the fire before placing it in a leather Gladstone bag. The bloodstained gloves then stoke the fire till the whole room is aglow until its heat is almost unbearable. The bloodied gloves and apron are removed and thrown into the fire and the hand picks up the bag and opens the door. One last backward glance at this scene of horror before the door is closed. The night is chill and snow starts to fall. A gas-lit lamp post, a graveyard, a burial vault. The brick is the key. The arrows in chalk on the wall point the way through the darkened underground passages. The heart! The heart! And I wake, covered in sweat, but this is not the cold sweat of fear. No, this is the sweat of heat. It must be coming from the room adjoining my own. Surely this has not happened here! I hastily throw on my coat and run outside. I see the door from my dream. No, this cannot be! The window! I peer through the broken pane and the scene I behold in the firelight shall be locked in my mind forever.

**SCENE II**

**Rooftops**

**NARRATION SALLY:** From the rooftops I can see St Marys, with its gothic spires, gargoyles and stained glass windows. I sit with Rave Danger and view the streets and buildings of Whitechapel below. There are people everywhere with lanterns and fiery torches, all searching for the murderer. Some gather together in large mobs, some in small groups. Militia, police, commoners and gentry alike, some armed with guns, others with clubs and instruments of their occupations. The clouds part momentarily and the stars can be seen. The moon sheds its light down upon the rooftops and the streets.  
All of a sudden a strange wind picks up, a cold wind, and out of the mist Badger materialises.

**Badger:** Good evening Sally and Mr Danger. How do you fare this night?  
**Sally:** I have always known Whitechapel to be a place of murder, but never have they sparked such reaction.

**Rave:** They make our hunting grounds such an impossible place! See how they chase each other out of fright.  
**Badger:** I doubt very much that at this point in time we could hunt amongst them and not become the hunted. This is just what I had feared would happen.

**Rave:**I must seek Jack London. His abode is yonder.

**Badger:** You cannot! They will see you for who you are! Did you not see how people can perceive you now? Your façade is over, Danger! You are a person of the shadows now. As we all must be for our own survival.

**Rave:** I have no more time to wait! My existence will be over before dawn unless I perform the ritual of transformation. Look to the stars! The planets have aligned! Behold the pattern of the pentagram! My time is at hand!

**Badger:** You cannot go amongst them! You will risk our very existence!

**Rave: **My existance is already risked!

**Sally:** What is happening down there? There seems to be a bright light coming from that window. Look, there is someone leaving the building.

**Badger:** That light is coming from a fire.

**Rave:** It cannot be! It is where Jack resides! I must go to him!

**Badger:** No! You will be discovered!

**Sally:** There is Jack now! He looks to the window.

**Rave: **I can read his mind. I shall see through his eyes... My God!

**Sally:** What is it?

**Rave:** Another murder! Worse than all the rest!

**Sally:** Then that means...

**Badger:** That we must follow that man at once! Come, Danger. This place will be full of people soon.

**Rave:** Curse it all! Ravnos! Lead us!

**Sally:** The cemetary! Of course! He heads for the jewish cemetery! We must hurry! 

_Sally leaps from the rooftop. Rave and Badger look at each other briefly and follow._

**SCENE III**

**Millers Court**

**Abberline: **Sir Charles. I came as quickly as I could.

**Warren: **Inspector Abberline. The murder is most grisly beyond anything I have ever seen in my life.

**Abberline:** What has happened?

**Warren:** See for yourself.

_Opens door and puts handkerchief over his face._

**Abberline:** My God!

**Godley: **She's been .. cut to pieces!

_Godley pukes_

**Warren:** This was done by some madman. That is what we are dealing with - a madman.

**Abberline:** Indeed, but what kind of madman? This is no butcher or surgeon. See here, the way the muscle has been severed from the bone. The cuts are not clean, nor methodical, but more like an investigation. My God... The torso has been cut completely open... the lung slashed... and it seems... that the killer has taken the heart! Her.. her face is cut beyond recognition. She has red hair. Who was she?

**Warren:** She was another unfortunate. The landlord told me her name was Mary Kelly. I cannot understand how any man could be capable of such an act. I have failed in my duties. I am no longer worthy of my office.

**Abberline:** Chief?

**Warren:** From this very moment I resign my station at Head Office.

**Godley:** But...

**Warren:** I shall not be persuaded otherwise. Good day gentlemen.

_Exit Warren. Abberline and Godley follow him out the door almost into the crowd._

**Jack:** Abberline! Inspector!

**Abberline:** Jack?  
**Jack:** We have to hurry!  
**Abberline:** What? Why? What are you talking about?  
**Jack:** If you want to find this killer, now is the time - and I think I have an excellent notion as to where he might be headed. Come with me!

**Abberline:** What, now? Where are we going?

**Jack:** To the cemetery. I have seen it. We must hurry!

**Abberline:** Seen it? Seen what? Godley, take over here... and hand me that lantern!

**SCENE IV**

**The Cemetery**

**Sally:** Here, look! Fresh footmarks in the snow! He has gone in here.**  
Rave: **Look here. They lead into this vault... and into this... wall.

**Badger:** There must be an entrance here somewhere. We must search for a way to open it.

_Scuffles_

**Sally:** Here! This brick is loose!

_Sound of stone door opening_

**Badger:** Fine work my dear girl! Quickly now. We must waste no time!

EXIT Sally, Rave and Badger

_Sound of stone door closing_

ENTER Jack and Abberline

**Abberline:** How do you know where we are going Jack?

**Jack: **I don't know exactly. Call it intuition.

**Abberline:** Intuition! I hardly think... wait! What's this? Footmarks that lead to that vault. Difficult to tell how many people, but it looks like three or four sets of boots.

**Jack:** In here! The brick is the key.

**Abberline:** What?

**Jack:** The brick... here!

_Sound of stone door opening_

**Abberline:** How did you know that was there?

**Jack:** Intuition.

**Abberline:** This seems like more than just intuition to me, Jack. What in God's name is going on here?

**Jack:** I cannot explain it Abberline... I have been having these ... dreams, visions, ever since I came to Whitechapel.

**Abberline:** Visions?

**Jack:** Yes! I have seen the murders in my dreams. I have seen it! See here! On the wall. Chalk marks pointing the way.

**Abberline:** Chalk! White chalk! Just like the writing on the wall about the Jews. But why down here?

**Jack:** I am not certain, other than we must follow this trail, for I sense that something terrible is about to happen.

**Abberline:** You can certainly be full of surprises, Jack.

**Scene V**

**The Catacombs**

**Rave:** These catacombs seem to go on forever. Surely our destination cannot be much further.

**Badger:** Quiet! Listen.

_Footsteps_

**Badger:** We are being followed. Quickly! Conceal yourselves.

**London:** Did you hear that, Abberline?  
**Abberline:** I thought I heard voices. Here, hold the lantern so that I might get a good shot at him.

**Badger:** Put down your weapon, there is really no need and it shall do you no good in any case.  
**Abberline:** Who are you? Show yourself!  
**Badger:** May I introduce myself... my name is Badger.

_BANG!_

**Badger:** Ahem. Hardly the greeting of a gentleman. I did say your gun would be of no use.  
**London:** What are you? How is it that you are not dead? What are you doing down here?  
**Badger:** We are following the killer.  
**Abberline****:** We?  
**Badger:** Yes. We.

**London:** Sally? Danger? What is going on here?

**Abberline: **What happened to his face? And why were you not wounded from the bullet? You are not natural! What are you?  
**Badger:** Of course we are not natural - we are vampires. We cannot be harmed by your bullets. We are already dead.  
**Jack****:** All of you are vampires? But... Sally you are a member of the church!  
**Sally:** I was, yes.

**Jack:** What are you doing in the company of these devils!

**Badger:** She has become one of us.

**Abberline****:** But what about him! How can he have no eyes? What kind of a creature has no eyes?  
**Rave:** One that has lost them. Calm yourselves. There is nothing to fear. If I had wanted to kill you I would have already done so.  
**Abberline:** Be calm! Look at you!  
**Sally:** Jack, Inspector - our mission here is to find this killer and bring an end to these murders. We have our own reasons, just as you have your own.

**Abberline:**This is proposterous! Vampires! Do you take me for a fool?

**Badger:** Certainly not, Inspector. In fact, you have already run into our kind before.

**Abberline:** What are you talking about?

**Badger:** Do you recall your last case, before all these murders?

**Abberline:** I do. The case was most odd. Spontaneous combustion.

**Badger:** Indeed. It is what happens to a vampire should they ever meet the light of the sun.

**Jack: **So you are saying that Abberline was at the scene of a dead vampire?

**Badger:** Precisely.

**Abberline:** Are you the ones that have been commiting all the murders?

**Badger:** No we are not. As I said, we are on the trail of the murderer, as are you.  
**Sally:** We could use your help, Inspector Abberline.  
**Badger:** I would like it very much if you would accompany us, but be on your guard. The things you have seen so far may only be the beginning.

**Abberline: **It seems that we have little choice.

**Badger:** Then let us move quickly.

**SCENE VI**

**The Chamber**

**London:** What is that!

_BANG! Richochet_

**Badger:** Inspector, I do not believe your weapon will be effective on this creature.

**Abberline:** Damnation! Is anything of use against you unnatural bastards?

**London:** What is it? It looks like a grostesque statue.

**Rave: **It is a guardian! A gargoyle! Made from solid stone and animated by occult magic.  
**Jack:** Why is it here? Can we get past it? It looks like it is standing in a strange doorway, and what do these inscriptions around it mean?  
**Badger:** Remember - it is a guardian creature. Stand back from it. It is dangerous! Someone is already here. Their ritual may happening this instant!  
**Rave:** The planets are aligned. We must get past this creature.

**London:** But how? It is solid stone.  
**Badger**: We may need everyone if we are to sucessfully defeat it. Mr Danger, Sally - we must even the odds here.

**Sally:** What do you mean?

**Badger:** We must feed the mortals our blood.

**Abberline:** You sir must be out of your mind if you think I'll drink your blood! This really is going too far!

**Badger:** Silence! A mortal that drinks of vampiric blood shall temporarily gain our supernatural strength.

**Jack:** But won't that cause us to become vampires?

**Rave:** No Jack. The process can only take place once a mortal is completely drained of blood. Only then when they partake of vampiric blood may they truly become a vampire.

**Jack:** And this is what happened to you, Sally?

**Sally:** Yes. My body died and I was reawakened in my new form.

**Jack:** What is it like?

**Badger:** Enough! We must act!  
**Rave:** Come then Mr London. Taste of my blood and your question shall be answered.  
**Badger:** Inspector Abberline, Sally - be quick.  
**Sally:** Here inspector, drink.

**Abberline: **This is madness!

**Badger:** DRINK!

**Abberline:** Eer, ahh.. rff.

_Both drink..._

**Badger:** Very well - it is done.

**Jack:** This is amazing! I can feel it course through my veins! I can feel myself becoming empowered! Can you not feel it, Inspector?

**Abberline:** This shall surely be the strangest evening of my entire life.

**Gargoyle:** _You shall not pass!_

**Badger:** We shall see about that! Attack the beast!

_Gargoyle roars!_

_Lots of punching, smashing and scuffling!_

**Badger: **Abberline! Go for its chest! Sally! The legs!

_Smashing sound and roaring!_

**Abberline:** It bleeds!

**Rave: **I shall show it the power of the Amazing R.. OOF!

_Smashing and thudding sounds and yelling from all._

**Gargoyle:** _Your attempts to defeat me shall bring about the end of your lives!_

**Sally:** My attempt shall bring about the end of your knee!

_Samshing stone sound and the gargoyle howls._

**Jack:** Abberline! Look out for its tail!

_Thudding sound_

**Abberline:**_ Ahhhh! Ooof!_

_Thud... slide_

**Danger: **I shall not be so easily swept aside! I shall have my fill of blood upon your throat!

**Gargoyle:**_Wretched Fools!_

**Rave:**_ Ahha! Huuurrrgh! Gnnn! Gnn!_

**Sally:** Let him go! Rave!

_Samshing sound as Rave's head gets smashed into the ceiling._

**Gargoyle:**_Insolent weaklings!_

**Badger:**I shall have you beast! Upon the back of your neck shall you feel my fangs!

_Gargoyle howls_

**Jack: **Sally, quickly, while it struggles with Badger! Together!

_Smashing, punching and shattering amongst yells from all._

**Jack:** Go for it's throat!

_Sound of a rasping tear and the large spattering of blood._

**Badger:** I ... shall... tear.. you.. in ... two! Rhhhhaaaaaahhhh!

_Splitting, tearing sound and the Gargoyle howls a long an final howl and crashes into rubble._

**Jack:**My God! I have never felt so strong in all my days! Is everyone alright?

**Abberline:** *coughs* Yes I'm fine.

**Sally:** Rave?

**Rave:** I think my skull is smashed, and I am losing strength rapidly. My time is at an end.

**Rave:** You see me as I truly am - are you not afraid?  
**Jack**: I am... yet I confess that I am also intrigued.  
**Rave:** You have a good mind. Very good mind that can go a long way ... You possess such talent. Talent for the written word. The talent of foresight and intuition which escapes so many mortals. Am I not correct?  
**Jack**: I.. I really am unsure how I should perceive such a talent. To be honest, it quite frightens me. The sights I have seen through eyes I barely believe are not my own.  
**Rave**: I can show you... I can show you the world. With my knowledge and insight I have the power to expand you lifespan much beyond its natural limitations. You know what I am ... and in being what I am I can offer you this - to see all the great things in history as they have happened. To live to see history become history. I am offering you this chance - rise beyond this newspsper man and become something so much more. You don't have much time to decide.  
**Jack**: But at what cost?  
**Rave**: There is no cost ... there is no pain ... only that you will become immortal. Will you accept and come with me?

**Jack:** What are you offering me, exactly?

**Rave:** You would become a vampire.. like Sally, but with all my memories, all my knowledge.. all my power. I have no more time.. I must know that you would be willing.

**Jack:** I would never again be able to see the light of the sun?

**Rave:** It is true. You would become a creature of the night, but it is such a small sacrifice for such power and the chance at eternal life, I assure you. Your answer Jack? If you refuse, I shall die here. All that I am shall die with me.  
**Jack**: Very well. I accept your offer. What must I do?

**Abberline:** Jack! You cannot be serious!

**Jack:** Inspector Abberline... How can I let such an opportunity pass me by? To me it would be like absorbing countless books of history. To feel it like I was there. To go on and reach the true potential of my talents.

**Sally:** The price is more than never seeing the sun Jack. It also entails the feeding from your fellow man, the fighting of the hunger within you, constantly.

**Badger:** But if it what you truly choose, Jack, then you shall have all that Rave Danger offers you. But know this! You must leave you mortal life behind you. You shall become a creature of the shadows, never able to integrate fully back into the society of men. If you were to accept Mr Danger's offer, you must leave Whitechapel. You cannot remain here. You are too well known.

**Jack:** Then I shall return to America. I shall write!

**Badger:** You may write all you wish, Jack London, but do not write of what you witness here, nor of our kind, for in secrecy is how we must all survive.

**Jack:** I swear it.

**Abberline:** Jack! No! Do not do it! Do not be tempted!  
**Rave:** We... have... no more time... Jack?

**Jack: **I shall do it.

**Rave: **Then come to me. I must drain your life... and your soul. I shall become Jack London... and I shall integrate myself and all that I am into you. Give me your wrist.

**Abberline:** Jack? Jack!

**Badger:** Do not interrupt, Inspector. He has chosen. Leave him to his new destiny. Behold! Before you very eyes see how the lifeblood of Jack London is drained into the body of Rave Danger.

**Abberline:** You must stop this!

**Badger:** It is too late Inspector. Observe! One grows weak as the other grows strong. See how they become one. The mortal form of Rave Danger replaced by that of Jack London. It is the ceremony of transformation.

**Abberline:** Jack? Jack London! Speak to me! Sally! Do something!

**Sally:** I cannot. It is done.

**Jack:** Jack? Yes... Jack. That is my name. Oh the rush of memory! Oh the intake of knowledge! I could never imagined!

**Abberline:** No! Jack! What have you done? What have you become?

**Jack:** Immortal my good friend. Infused with knowledge that I could not have possibly dreamed... lifetimes! Hundreds of them!...

**Badger:** Now! Let us find this Ripper and bring that miscreant to final justice! Here... through this door. Be on your guard!

**Abberline: **What is this place? And what is that smell! It is worse than all the slaughter yards of Whitechapel together.

**Jack:** It appears to be a chamber intended for occult purposes.

**Badger:** The pedestals here form the five points of the pentagram, and the bowl upon each contains blood. And what is this? A lecturn with a book upon it. It looks to be written in latin. And here, diagrams of human organs. A uterus, a kidney... what kind of diabolic tome is this? And here... there seems to be a page torn out.

**Jack:** A page? A page! Let me search my pockets. Here! The page with the pentagram upon it. It fits the book!

_Great yawning sound and steam as the portal opens._

**Badger:** Behold! The centre of the pentagram shifts! Stay back from it!

**Abberline:** What is happening?

**Jack:** It is a portal! A gate! It is opening!

**Sally:** A portal? To where?

_Sickert emerges from the portal._

**Sickert:** Why, to hell, of course.

**Abberline:** Walter Sickert! Of course! The ink, the chalk, the knowledge of human anatomy! An artist! Curse me for a fool, but I should have seen it earlier.

**Jack:** Walter Sicket?

**Sickert:** Artist, actor and master of disguise! Otherwise known as Jack the Ripper! I congratulate you on finding me, but it is now too late, Inspector Abberline. With the heart of a whore the ceremony is complete and I now possess powers far greater than you can imagine. Every piece of flesh I cut from those women has enabled me to open this gate to hell and feed the flesh demon that is now my patron!

**Sally:** This is why you have been killing all those women?

**Sickert:** Yes, little vampire. And I did enjoy it so! Never giving them a chance to scream. Slicing their pretty little throats. Oh, and wasn't that last one so pretty? And such a work of art I made of her. Her body became my canvas, my masterpiece!

**Abberline:** You BASTARD!

_BANG!_

**Sickert:** _gasps in pain. _Quo sol dies praestringere!

_All others ghasp as a flash of blinding light eminates from Sickert._

**Jack:** I am blinded! Abberline!

**Abberline:** I am also.

**Sickert:** You cannot defeat me. I now have all the occult knowledge and power of the Order of the Golden Dawn! I can see in total darkness as well as I can draw down the power of the sun!

**Sally:** I may not be able to see, but I can still hear! Raaaaa!

**Sickert:** _Incendere radius ad sol!_

_Sally howls in smouldering agony and is silent._

**Sickert:** Feel the ray of the sun! It is death to you and your kind!

**Jack:** How do you know of our kind?

**Sickert:** I have known about the existance of vampires ever since I joined the Order. Your kind are weak. You must feed only on blood. You cannot abide the sunlight. You are pathetic creatures.

**Badger:** The portal is closing!

_BANG!_

_Sicket howls in pain._

**Sickert:** You... cannot... defeat me..

**Abberline:** But I can send you back to hell!

_BANG!_

_Abberline kicks Sickert back into the abbyss and Sickert screams all the way down._

_The portal grinds shut._

**Jack:** My sight is returning.

**Abberline:** As is mine.

**Badger:** Sally? Oh... my dear sally!

**Abberline:** My God! She has a hole right through her! Badger... you are bleeding.

_Badger cries tears of blood that drip onto Sally's face._

**Badger:** We must destroy this place at once! Jack. Take her. I will bring this chamber down one pillar at a time! Run now, both of you get out of here! Run!

_One by one Badger smashes the pillars supporting the roof till the whole chamber collapses in a massive tumbling of stone and rock. The dust finally settles._

**Badger: **Stay in Hell, Sickert. It is where you belong.


End file.
